MASTER 

NEGATIVE 
NO.  94-821 17 


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Author: 


Sherbow,  Benjamin 


Title: 


Effective  type-use  for 
advertising 

Place: 

New  York 

Date: 

1922 


COLUMBIA  UNIVERSITY  LIBRARIES 
PRESERVATION  DIVISION 

BIBLIOGRAPHIC  MICROFORM  TARGET 


MASTER    NEGATIVE   # 


ORIGINAL  MATERIAL  AS  FILMED  -    EXISTING  BIBLIOGRAPHIC  RECORD 


Business 

253.2 

Sh5 


Sherbow,  Benjamin. 

Effective  type-use  for  advertising?,  by  Benjamin  Sher 
bow  . . .     New  York,  B.  Sherbow,  1922. 

5  p.  1.,  139  p.    illus.    W^. 


l._Advertising.    2.  Printing,  Practical.        i.  Title. 

Library  of  Congress  f       )     HF5825.S5 

Copyright    A  659182  i3j 


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THE  LIBRARIES 


GRADUATE 

SCHOOL  OF  BUSINESS 

LIBRARY 


Hrl 


Effective  Type-use 
for  Advertising 

By 

Benjamin  Sherbow 

Consultant  in  Typography 

Author  of 

Making  Type  Work 

Sherbow" s  Type  Charts  for  Advertising 

etc.,  etc. 


•nmmm'mmmi: 


1922 

Published  by 

Benjamin  Sherbow 

50  Union  Square 

New  York 


Copyright,  1922,  by  Benjamin  Sherbow 

All  property  rights  reserved 
including  those  in  foreign  countries 


Contents 


d  V;  ^Tiat  is  good  advertising  typography? 
^  '^^i  Getting  Attention 

Delivering  the  Message 


1 

4 
13 


a-  3  ^o^'j 


3 


Printed  in  the  United  States  of  America 


>- 


h^^ 


ft' 


Good  Looks 

Advertising  typography  must  invite  the  eye 
by  its  good  looks 

Type  dress  should  conform  to  the 
character  of  the  message,  22 

Decoration,  26 

The  relief  of  white,  32 

n 

Liveliness 

Advertising  typography  must  stimulate  interest 

by  its  liveliness 

Display,  49 

1  Display  must  stand  out,  53 

2  Display  must  be  easy  to  read,  55 

3  Display  must  be  good  to  look  at,  62 

4  Display  must  be  arranged  so  that  its  sense  is 

clear  at  first  glance,  63 

5  We  must  not  overdo,  64 


17 


41 


Contents 


III 

Orderly  Arrangement 

Advertising  typography  must  sustain  interest 
by  orderly  arrangement 

Orderly  arrangement  in  cataloging,  77 


IV 

Easy  to  read 

Advertising  typography  must  grip  attention 
by  being  supremely  easy  to  read 

1  The  face  of  type,  89 

Avoid  freak  lettering,  107 

Avoid  dark  backgrounds  for  type,  111 

2  The  size  of  type,  115 

3  The  length  of  line,  124 

4  Space  between  lines  (leading),  128 

A  check-up  for  effective  type-use 


71 


87 


ft 


134 


.^^' 


Foreword 


I  i 


■if; 


Foreword 


n 


h 


In  1915  The  Century  Co.  asked  me  to  write  a 
little  book  on  type.  It  was  published  in  1916  under 
the  title  of  "Making  Type  Work." 

I  confined  my  subject  to  the  use  of  type  in  ad- 
vertising, discussing  in  as  plain  and  simple  a 
fashion  as  I  could  some  of  the  things  which  my 
daily  experience  had  taught  me  about  making 

type  work. 

"Making  Type  Work"  has  circulated  all  over 
the  world.  Several  editions  have  been  printed, 
thousands  of  copies  have  been  bought;  after  six 
years  it  is  still  selling  steadily  and  there  are  even 
instances  of  a  copy  being  stolen!  It  is  on  the  list 
of  recommended  books  in  many  universities  and 
colleges,  and  wherever  advertising  is  taught.  In  a 
recent  test  to  establish  a  list  of  the  ten  best  books 
on  advertising,  it  was  given  a  place  among  the  ten. 

The  reason  for  the  success  of  "Making  Type 
Work"  is  that  it  talked  plain  common  sense  about 
the  use  of  type  in  advertising,  and  showed  how 
to  apply  what  it  taught,  to  everyday  needs. 


;  !   ■  I 
!)  r 


w 


I  n 


During  the  six  years  which  have  gone  by  since  I 
wrote  my  first  book,  I  have  worked  out  many  new 
type  problems,  experimented  no  end,  lectured, 
written,  taught  classes  at  Columbia  University. 

And  I  have  made  "Sherbow's  Type  Charts  for 
Advertising." 

This  enriched  experience  has  gone  into  the 
making  of  "Effective  Type-use  for  Advertising." 
It  probes  farther  and  deeper  than  the  earlier 
book — gets  closer  to  the  very  marrow  of  the  sub- 
ject. Plain  to  be  seen  also  in  this  book  is  the 
result  of  my  teaching  and  lecturing  work.  The 
sheer  necessity  of  making  things  clear  to  the 
student  mind  has  developed  simpler  and  better 
methods  of  demonstrating  the  fundamental  use 

of  type. 

So  here  is  "Effective  Type-use  for  Advertising," 
another  effort  to  advance  the  sensible  use  of  type. 


New  York 
January  y  1922 


Effective  Type-use 
for  Advertising 


,  V 


Is  % . 
ft 


r 


i  < 


What  is 
good  advertising  typography? 

THE  MAN  who  drives  his  cart  through 
your  street  in  Spring  and  yells  "Strawberries! 
Strawberries!"  does  perfect  advertising. 

He  gets  the  attention  of  potential  buyers  and 
tells  them,  understandably,  good  news  of  some- 
thing to  buy  and  he  has  the  goods  right  there 
when  ard  where  desire  is  aroused:  all  this  is  mer- 
chandising at  its  best. 

Advertising  at  its  best  is  any  means  whereby 
large  numbers  of  people  can  be  told  good  news 
about  something  to  buy.  Advertising  is  simply 
a  wholesale  method  of  human  communication . 

Advertising  typography  is  just  ordinary  com- 
mon sense  typography  applied  to  advertising. 

It  is  not  something  wildly  and  fiercely  unique. 

In  fact,  the  general  notion  that  advertising  itself 
is  a  separate,  special,  peculiar,  deeply  mysteri- 
ous thing  is  a  vicious  idea.  That  attitude  toward 
advertising  is  what  makes  so  many  advertising 

[1] 


r  • 


4  i 


t 

I 


efforts,  both  in  conception  and  execution,  pretty 
poor  specimens. 

The  best  and  wisest  advertising  men  of  my 
acquaintance  strive  with  all  their  might  for  natu- 
ralness .  They  seek  natural  points  of  appeal ,  natural 
language  in  advertising,  natural  illustrations, 
natural  comparisons  and  the  atmosphere  of  every- 
day life  in  all  they  do. 

It  is  only  the  novice  who  wants  to  don  long 
red  robes,  put  on  false  whiskers,  light  up  an  in- 
cense smudge  and  wave  a  wand  as  the  Stuffed 
Panjandrum  of  Intensive  Merchandising! 

So  type  must  be  the  clear,  efficient  conveyor 
of  the  advertising  message.  It  must  be  simple 
and  natural,  no  frills,  no  self -consciousness,  no 
"showing  off"— just  doing  its  duty. 

In  a  nutshell,  what  is  good  advertising  typog- 
raphy? It  is  typography  that  is  supremely  easy 
to  read. 


Typography  is  only  a  part  of  advertising .  Adver- 
tising must  do  two  very  unlike  things: 

First,  get  attention; 
Second,  deliver  a  message. 

Attention  is  got  almost  always  by  something  other 

than  type. 

The  message  is  delivered  almost  always  by 
type;  the  only  exception  is  that  the  picture  may 
greatly  help  in  delivering  the  message. 

You  can  make  an  advertisement  wholly  of 
type,  but  no  advertisement  can  be  made  wholly 
without  type. 

The  supreme  function  of  type  is  to  deliver  the 

message. 


ft 

3  i 


*      ' 


[2] 


[3] 


Ii>t 


I 


Getting  Attention 

Have  you  realized  how  much  of  the  money,  work 
and  genius  spent  in  advertising  goes  merely  to 
catching  the  eye  of  readers,  or,  to  use  the  accepted 
term,  how  much  is  devoted  to  "attention-value?" 
Considerably  more  than  half ;  yes,  perhaps  almost 
two-thirds  of  the  money  spent  in  advertismg  is 
spent  simply  and  solely  to  catch  the  eye,  the 
residue  paying  for  the  message  which  is  the  real 
nub  of  the  advertisement. 

Illustrations  1  and  2  are  two  typical  magazine 
page  advertisements.  Note,  first,  that  the  story 
could  have  gone  into  less  than  a  page,  but  the 
whole  page  was  paid  for  to  monopolize  the  field 
of  vision — the  eye — so  that  here  at  once  is  a  big 
expense  for  attention-value.  Then  the  pictures 
and  all  the  white  space  serve  the  same  end.  See 
how  little  is  left  for  the  message,  the  real  objec- 
tive of  all  this  flow  of  money. 

The  willingness  of  the  advertiser  to  spend  the 
greatest  proportion  of  his  money  for  attention- 
value  is  again  shown  in  the  Noiseless  Typewriter 
newspaper  advertisement  (3). 

[4] 


\ 


He  paid  for  enough  space  to  dominate  the  page 
and  then  wisely  used  only  a  portion  of  it  in  which 
to  tell  his  story,  so  that  the  white  space  could  act 
as  an  attention-getter. 

Again,  money  spent  for  special  position  on  the 
newspaper  page,  is  money  spent  for  attention- 
value  rather  than  for  the  actual  delivery  of  the 
message.  The  small  advertisement  of  The  Mer- 
cantile Safe  Deposit  Company  in  illustration  3 
would  stand  a  greater  chance  of  being  overlooked 
if  it  were  sandwiched  in  among  a  number  of 
others  rather  than  placed  where  it  is. 

The  all-type  advertisement  shown  in  4  is  all 
message ,  not  enough  eye-catcher .  Alongside  illus- 
trated and  colored  and  big  advertisements  it 
would  be  a  wall-flower,  rather  neglected. 

You  can  make,  easily,  a  very  good  all-type  ad- 
vertisement— but  no  advertisement  is  or  can  be 
made  wholly  without  type.  This  is  shown  in  the 
"teaser"  advertisement  (5).  It  is  all  picture  and 
white  space— no  type  at  all.  It  occupied  paid 
advertising  space  in  a  newspaper  but  it  is  not 
really  an  advertisement  at  all— it  delivers  no 
message. 

[5] 


Si    ^ 


I; 


I 


w 


TO     THE     EXCEPTIONAL     MAN 


To  that  mui,  tvnvttful  m  hit 
occupation*  With  the  mean}  to 
gratify  his  reasonable  desires— to 
the  man  of  exceptional  tasrc— 
quiet  distinction  in  appearance  is  al- 
most second  nature.  He  secures  the 
air  metropolitan  by  selecting  what 
b  ftnest  in  personal  appard  quite 
as  instinctively  as  he  expresses 
deference  to  a  gcntlewotnan. 

To  these  men  a  brief  mesaagct 


There  are  a  *try  (em  ritttom  taik>rt 
in  this  cuuntrv,  London,  or  Pans 
who  etjual  Hir»h,  Wakwirc  Clothes 
in  fabric,  finish,  and  especially  in 
the  proper  eKpression  m  iiMfivki* 
uality  in  appearance. 
We  make  our  clothes  not  only  to 
fit,  but  to  befit  men  of  many 
diHiercni  types,  so  that  men  like 
you  may  experience  the  substantial 
aatisiWtion  o4  finding  close  at  hard 


■udi  pmonal  apparel  as  you  will 
in^tincitvely  desire  to  wear  If 
you  are  the  exceptional  man'^ 
exceptKNial  in  tasre,  la  dcsirea, 
especially  in  figure— you  will  fiiMl  ui 
Hirsh.  Wickwlrv  Clothes  all  ckac 
you  have  long  sought. 
Just  a  note  from  you  wiU  bring  by 
mum  ij(  pint  the  name  of  the 
snnarf  shop  where  Hirsh,  Wkkwire 
ClotJtes  may  be  had. 


Hi  RSH,  WicKwi RE  Clothes 


CHIC^OO 


T»it»rti  ty  Hint,  Witiwirt  Ctmfa*/ 


Ntw   VOItR 


■t! 


This  is  a  typical  magazine  page  advertise- 
ment on  which  the  greater  proportion  of  the 
money  spent  was  for  attention- value  by  large 
use  of  white  space. 


[6] 


They  keep  you  looking 
your  best 


9 


ABLER 

COLLEGIAN 

CLOTHES 

Smart  styles  for  every  man  of  i7to7o 
Madeby    DAVID  ADLER  &  SONS    COMPANY- Milwaukee 


'^1 


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r-S 


On  this  page  advertisement  also  the  greater 
proportion  of  the  money  spent  was  for 
attention- value  by  use  of  a  large  picture  and 
large  headlines.  Here,  however,  the  picture 
greatly  helps  to  deliver  the  message. 

[7] 


;."Ji,r-'X^3irj    UiMiMl.  Sa^t  RW  Uficd  More  Power  ■■ 


at««n!toT 


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UMV    «     AhK    V*M>4    IMIH    ■ 


MM*  BaHti  niim'w;. 


i«;- 


Mna'wia*!!*'  i_^  «7>-  J«  -  «•>«-: 


^MH    Ifc    M»   »  AMia  *i>M 


■  lim  *l!l  > ••**  ,  !■■■  I  ■    ■    Ml ^«»  ■  ""t^         •»»— •    .*•    l^»tal««    (A***!    • 


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---    ■*«*■   >*   *  '      .  .  _     ^._ 


TELEPHONE 

for  a  demonstration 


rlMMvrf  C*>IHk  v^  M*  M^ 


We  Vm  PlMt  Oil  Sak  T<Mby 
A  yfwMfr  ffeyAMT  XcAkimm 

All  Our  Blue  Serge  Suits 


-•MMTowwa 


HI  III!    II  P»  V-^  V-^ 

ii-l,«i<C«idli  » «MMr 

lUfiimd  /ir  C...I/II  titfc.  VHi  —'  **■» 


I  I  I  <*»♦» 


W^  uy  Aut  Tlw  M« 
Typewriter  i»  J  »up»f-iy»«- 
WTii«r-th<  (fuKU  lyptwflMr 
«ii  the  market. 

We  uy  thu  aM  only  beuuM 
It  It  the  ofily  mxteleM  type- 
writer,  bat  bev«»c  oi  its  ipeedi 
■i>  duiehihty  -  the  outaundins 
quality  o4  it»  work. 

We  are  wiHint  t«  pcovt  l)ier« 
stetementt  in  the  nwM  practical 
way  poaaiblf  —  by  *  demorutra*' 
tMn  uvyour  own  olbcct 

Such  a  dcmonairation  wtU  ttl 
you  more  about  thi*  modem 
typewntcr  than  we  could  writ* 
in  ten  pa(c«.  Il  will  imwer  all 
your  qucalMMia. 

Our  telephone  number  it 
*Barclay  tJOi.  We'llNenda  ma- 
clune  over  today  if  you  »ay 
•o.  A  ttamoBttratwn  enuil*  no 
obhcatun. 
»aaiiOi«««Mr^r»ew«iT«ecou»*a» 


^NOISELESS 

TYPEWRITER 


Ml" 


In  the  Noiseless  Typewriter 
advertisement  the  greater  pro- 
portion of  the  money  spent  was 
for  large  space  to  dominate  the 
newspaper  page  and  for  white 


space.  In  the  small  advertise- 
ment at  the  top,  a  good  pro- 
portion of  the  money  spent  was 
for  position  to  attract  atten- 
tion. 


[8] 


Now  you'll  note  that  big  space,  white  space, 
position,  color,  pictures,  all  being  splendid  atten- 
tion-getters, are  not  type.  In  these  advertisements 
you  find  type  is  weak  in  attention- value.  Big  dis- 
play heads  are  pretty  nearly  type's  utmost  in 
catching  the  eye. 

Type's  big  role  in  advertising,  its  true  func- 
tion, is  to  deliver  the  message  when  these  other 
things  have  caught  the  attention.  These  other 
things  catch  the  eye,  they  are  pure  visual  signals, 
they  would  catch  the  eye  of  a  babe  or  unlettered 

savage. 

Type  speaks  to  the  mind.  Type  is  that  part  of 
the  advertisement  that  sells.  Type  is  the  "closer." 
You  know  in  difficult  selling,  such  as  life  insur- 
ance or  stocks  and  bonds,  plenty  of  clever  men 
can  get  a  prospect's  attention  and  his  interest, 
but  certain  other  men  known  as  "closers"  must 
then  come  along  and  get  the  money  or  the  signed 
order.  In  advertising,  type  fulfills  the  function 
of  the  "closer." 


[9] 


DA 


i    t     ','1 


ti 


Printers'  Ink  Monthly 


\2% 


ccIKnjfipxsnf  Japtions  and  pictures,  must  be  en- 
SSlDlUUeSOr  graved  on  the  copper  cylinder  Conse- 
<|uently.  the  rotagravure  printer  has 
no  composing-room  and  is  unable  to 
submit  proofs.  The  finished  job  is 
the  only  proof 


vure 

It  f>age  28) 

i   art   subjects, 

attracted  wide 

beauty   and    by 

fst  in   the  new 


itribution  to  the 
ars  to  be  the  dis- 
D  process  of  en- 
g,  which  is  the 
dinary  printing 
eloped  consisted 
t»cr  from  a  raised 
re  printing  ap- 
epressions  below 
as  an  engraved 
?d. 

,  commercial   use 
nds  of  printing 

(2)  surface  and 
e  first  of  these  is 
im  type,  line  and 
The  second  is 
nting  by  lithog- 
flfset.    The  third 

V  printing  cstab- 
ply  "gravure." 
ing  is  done  on  a 

cylinders  are  of 

four  newspaper 
The  cyfinder  is 

its  outer  surface 

,  by   electrolysis. 

of  the  cylinder 
»  part  of  the  en- 
It  is  done  by  the 
t.  The  cylinder, 
oated,  is  polished 
This  copper  coat- 
hoto-intaglio  en- 
ics  the  printing 
lase  of  the  work 


PRINTING  is  the  easiest  part  of 
the  entire  process,  inasmuch  as 
there  IS  no  such  thing  as  make-ready. 
The  copper  cylinder  is  placed  on  the 
press  and  revolves  m  a  trough  of 
printing  ink,  an  ink  much  more  flluid 
than  ordinary  printing  ink  Brown 
ink  is  generally  used  because  of  the 
beautiful  effects  obtainable  with  this 
color,  though  equally  as  beautiful  ef- 
fects have  been  achieved  with  greens, 
blues  and  sepia-black.  Brown,  how- 
ever, seems  to  be  popular  because  of 
Its  resemblance  to  photography  In 
the  beginning  brown  ink  worked  bet- 
ter than  other  colors  at  high  speed, 
though  inks  are  now  made  in  many 
colors,  and  most  of  them  work  as  sat- 
isfactorily as  brown.  Rotagravure 
presses  have  a  speed  ranging  from 
3,000  to  3,500  impressions  per  hour. 
An  ordinary  stereotype  newspaper 
press  of  the  double-octuple  style  will 
produce  150,000  copies  of  16  pages 
per  hour. 

Rotagravure  printing  has  been  in 
use  in  this  country  for  about  ten 
years.  One  of  the  obstacles  that  has 
held  back  the  more  rapid  development 
of  the  art  in  this  country  has  been 
the  larfee  amount  of  the  initial  invest- 
ment required  to  equip  a  plant,  the 
scarcity  of  information  on  the  sub- 
ject and  the  paucity  of  trained  work- 
ers, to  say  nothing  of  the  difficulty 
of  procuring  American-made  ma- 
chinery, inks,  paper  and  other  mate- 
rials. Everything  is  now  made  in 
this  country  Another  difficulty  has 
been  the  fact  that  a  rotagravure  plant. 


IN  one  year's  time  321  sepa- 
rate advertisers  have  used 
344,058  hnes  of  advertising  in 
Printers'  Ink  Monthly. 
They  represent  men  who  make 
everything  from  agency  service 
and  newspapers,  to  electro- 
types and  beautiful  art  work.  A 
list  of  the  23  classifications  is 
exceedingly  interesting  to  us — 
it  may  be  to  you. 

Advertising  Agents,'  Newspapers, 
Outdoor  Advertising,  Magasines, 
Printers  and  Lithographers, Busi- 
ness Papers,  Agricultural  Papers, 
Paper  Manufacturers,  Art  Ser- 
vices, Electrotypers,  Engravers, 
Motion  Pictures  and  Slides,  Street 
Car  Advertising,  Books  and  Di- 
rectories, General  Advertising, 
Office  Appliances,  Novelties  and 
Window  Displays,  Merchandising 
&  Sales  Service,  Book  Cover 
Manufacturers,  Carton  and  Box 
Manufacturers,  Want  Advertise- 
ments (Display),  Direct  Adver- 
tising Service,  Commercial  Pbo-) 
tographers.  Business  Coursea.  . 

The  people  that  these  adver- 
tisers have  been  reaching  with 
their  message  in  Printers'  Ink 
Monthly — the  business  execu- 
tives of  the  advertising  business 
— have  been  responsive  enough 
to  justify  a  continual  and 
steady  growth  in  the  number 
of  advertisers  and  the  number 
of  lines  they  used. 


An  all -type  advertisement  which  is  all 
message,  not  enough  eye-catcher. 


[10] 


YORK    TIMES,    TUESDAY.    FEBRUARY     1.    1921. 


aaTBSTIKEMKNT. 


ADVRRTIKEMEMT. 


JL.  Jt-  -T-  -t-  JUL  Jt,  JT^  JXL  JiL  jr^  JiL  JX^  JTL  JT^  Jt>  Jfc.  Jt^  _tL  .t.  -t>  Jt. 


5« 


ill 


X.  JL  -t-  -t_  JL  Jl  JtL  ,1L  -t-  -tL  jtL  JL  JL  -t,  JL  JL  JL  JL  -T.  JL  JL  -^.^ 


d  wiLTa^  o.  wuumi 


A  "teaser'*  advertisement.  AH  picture  and 
white  space — no  type  at  all.  It  delivers  no 
message. 

[11] 


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I  ',■ 


I 


Delivering  the  Message 

The  supreme  function  of  type 
is  to  deliver  the  message 

Through  one  or  another  of  the  attention-getting 
devices  already  discussed  we  have  succeeded  in 
attracting  the  reader's  attention  to  our  adver- 
tisement or  other  piece  of  advertising  print. 

We  have  been  given  the  coveted  chance  to  de- 
liver our  message. 

What  is  now  the  job  that  type  has  to  do  in 
order  to  deliver  the  message  effectively? 

Type  must  do  these  four  things: 

I   It  must  invite  the  eye  by  its  good  looks. 
II   It  must  stimulate  interest  by  its  liveliness. 

III  It  must  sustain  interest  by  orderly  ar- 
rangement. 

IV  It  must  grip  attention  by  being  supremely 
easy  to  read. 


f    1 


lii, 


f; 

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[13] 


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Good  Looks 

Advertising  typography  must  invite  the  eye 

by  its  good  looks 


1   I 


W  , 


I' 

1- 


1^ 


"A  good  countenance  is  a  letter  of  recommendation" 

Fielding 


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?« '1 


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If 


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rf'rrr'ir-T'-''''" 


I 


|: 


I 

Good  Looks 

Advertising  typography  must  invite  the  eye 

by  its  good  looks 

Since  the  eye  is  either  invited  by  the  pleasant 
appearance  of  the  printed  page  or  repelled  by  its 
ugliness,  we  must  use  all  our  skill  to  make  adver- 
tising typography  good  to  look  at.  "A  pleasing 
countenance  is  a  silent  commendation,"  says  an 

old  maxim. 

A  comparison  of  6  and  7  will  illustrate  this 
point.  In  the  Heater  advertisement  (6)  we  have 
the  junk  shop  idea  of  displaying  its  wares  helter- 
skelter  all  over  the  place  with  no  sense  of  pleasing 
arrangement  to  invite  further  inspection.  In  this 
advertisement  you  see  nothing  clearly  because 
everything  is  pushed  at  you  in  a  conglomerate 
heap.  Eye  and  mind  become  weary  and  confused 
and  we  try  to  get  away  from  it  all  as  quickly  as 

we  can. 

The  Shaw  advertisement  (7)  gives  you  at  once 
the  sense  of  a  clean,  well-ordered  store,  inviting  to 

[17] 


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HOT  WATER 

INSTANTANEOUSLY 

INSTANTANEOUS 

"BY  ELECTRICITY 
'5\J[)  BOILERS 

NIGHT  and  DAY 

Evr?^  SeeonJ—E'very  Minute — Etxry 
Hour — E-very  Dmy — Evtry  Night 

THAT'S  WHEN  YOU  CAN  HAVE 

HOT  WATER  BY  THE 
AQUA  "ALL  FAUCET"  METHOD 

and  what's  more,  you  can  have  it  luke  warm  or  hot  as  you  wish. 
Simple,— practical— no  complicated  devices— nothing  to  get  out 
of  order— requires  no  watching— works  automatically — no  more 
care  than  any  cold  water  faucet. 


OWAQMAWAiarf* 
tit^nlnmmi  flw*r 
■SrMairr-witMn 
imH  onrr  nmKWM 


The  AQUA  "ALL  FAUCET* 

INSTANTANEOUS  ELECTRIC 
WATER  HEATER 

is  another  important  development  in  the  electrical  world. 

By  simply  turning  any  faucet,  one  or  more,  you  will  get  hot  water 

instantly,  where  you  want  it,  and  all  you  want  at  any  desired 

temperature      It  serves  you  instantaneously  anytime,  and  all 

the  time— never  requiring  adjusting  or  regulating. 

A  hall  boui  iob  by  any  tkdriciu,  awl  y<M  Imo*  lllla»ll«ini  kM  wawt  al  llw  Ian  ol 

a  laiKit.    Tit  AtM  i<  truly  a  pRMotiKol  iiiiiiinri  ntkr  •Wdi  auom  tUaitealtaa 

d  ill  4*mf"  "•Min«  ihtoufh  olhir  mcthorfa  o<  abuiaiat  kM  vaut. 

No  heilm— mo  pUat  U^—mo  gat  ettofr—mo 
exflomom—mo  oJon—tto  •vrmtt—mo  mffacoliom. 

DouUc  «af«1y  prauctrd,  op«ratn  aulomalkalty  andrr  any  water  conditioai.  gvaraalaad 
one  ycai^^WMl  4r(activ<  maurial  and  workmasikip.  •ill  U>t  irKktiHltly— <a>tt  loa 
Ihali  alV  Mktf  kiil4  «l  AutoMlk  Warn  H<*Ui— oaly  tl75  00. 


12'  alf  rnrloacd,  acaJrd  and 
inaulkd  out  of  aighl.  UauaUy 
ill  ihc  cellar. 

Endorsed  and  Approved 

As  a  Standard  Acquisition 

To  The  Modem  Home 

Or  Any  Building 

Jly  Ikt  6fit  4ntltTt  ntfyitkttt.  By 
tki  majtnly  •/  Ike  tmn  Cor^aiVl 
aW  CtttlrM  ifaiiMJ  imtudtni  the  Ntm 
Ymt  Edamm  C*.,  aW  /W  Caaian. 
»,^he*fmC».»ICkumu      All*— 

R»merab«t  The  A<iua  EWtrK  Wat«  H«al«  anal  aaka 
|god  in  tvtry  inuancc,  «  »•  i»tB.  ewiy  oa>  a  hU  wWi 
our  bisdiaf  (uaraalta  la  thai  dkti—ym  UJH  a*  iktmta 

wlutfvtr 

Voui  rbctrk  drain  o«  cooiracUr  will  «i4tr  tm  iar  yaa 
ICC  Mm  today— or  order  diiKt  Iroai  aa. 

The  AQUA  ELECTRIC  HEATER  CO. 

250  West  54th  Street  Suite  939,  New  York 

ftcfrias    Bridgrpoct,  Conn.,  aaJ  St.  HyacMwIit.  CimiU 


Endexi^  Itr  la/rly  »y  (*»  Nlitmtl 
BotrJtfUm^»'*mil»de4iMuUy 
ttjt'^tj  by  nearly  tj€ry  Iradt  j^mrmal. 
Wf  Ajpr  ttdivtd  mamy  Irtttrs  jrom 
laliifid  «KH  i*  tU  pill  »/  tkt 
itumtty. 


This  does  not  invite  the  eye.  It  tries  to  force 
reading  by  the  brute  mass  of  its  display. 
We  do  not  respond  to  force  as  readily  as  we 
do  to  invitation. 


[18] 


A.  w  a«Aw  <.\iwr«Nv-r«.i,Mr-.  ^  sMAW  tiiANUAau  ausiNHia  aooaA-auBiNEab  text  aooiu*— <m<aw  famuvs  -now.auuc-  scans 


The  Shaw  4-volume 
Business  Correspondence  System 

Lettrr*  are  playing  meh  an  impoiiant  part  in  baatneaa  today— 
wifming  ealrs,  collrrting  olrl  accouista,  adjuating  complaiDla, 
Cacililaling  tbc  work  of  aaleameti— little  wonder  ia  it  that 
ihia    aoal   cotmpUle   aod  practieal   Syatea    ha*   Bet    aueh 

men     everywhere 


TO  be  «(  gnatetl  value  such 
a  fjrMia  should  cover  every 
ptaat  of  letter  writing  — 
ihoiU  diKoa  (uBt  both  the  wlij 
ami  the  Jbna  o(  letter  prrparatioo — 
and  ikoiiM  be  built  upoo  eiperi- 
rnor  o(  Ihc  broadest,  at  the  same 
time  the  most  intensive  kind 

Tkc  nwtlMMia  oTTSl  letter- 
writing  apeeiallla 

_)«ali«*a— itlam"S>a-i 
Variaaia  CamsaannHa  SjnaaH  ^Haa 
iaaril  at  Svarsn  M  yaaia  af  aapailaMa 
■a  wthk*  lanan  Ikal  p«r  anaaaaTiaatla. 
Evanr  laar  Sntan  aaani  aM  aMaaa  at 
piana  al  aia  aiatlar.    Eack  llKC  b  d» 


wlM(aryaar«havcnadcau«dyallcttar« — 
.k»  have  baca  lanwhr  rwnaaaibti  iar  tiK 
.■ick  rawtk  aadt%  imCla  gi 


tfia  adaaraladyaa4aaa|)piiaallk<lctKn 
'  I  at  aakaa  ftaB  aad  you  wiB 


taaay 
rlw  havr  iaade  letter  do  aB 
that  pctvMlal  r«pr«wntativ«  can  do,  otica 
■OR.  TheM  Dica  rrvral  the  vcriiafale 
sccrrti  of  thrir  unusual  aUIily  You  tee 
aaartly  w*y  Ibrir  letter,  pay  out 

Profit-paying  letlera  witkia 
your  caay  reacii 

Bcfofv  aayonc  caa  hope  to  writel  cttcfs 

tkat  cambtently  pay  oat.  hr  uhmi  have  a 

o(  tkc 

liltar  wTitiaf.'  A 

lat  at  tkia  Sbaw   Syilaai  iMkaa  thtaa 

pfMdpiea^ckar  tw  ywa.  aad  tbb  to  a  lar«e 

worfc      You    ara 

«tcly  wbetlwr  a 

aHuraa 

Sale«  letten,  roltectioa  Icttcia,  rtHnptaiiit 

letter*.  *'cifi«er-up*'  letten.  rm>tioc  letten, 

follow  .up  Irtter^— all  arc  dearly  ewplaiiwd 

la  iMa  taaaaitilili  Syiuaa  by  1,7}!  actual 

Euta  tbc  haadiaR  of  ofdiaBry 

rana^toailia  l     latba  tarn  raa- 

ia  the  OHI— caa  be  dhpaaad  of  hi  a 

_  .  dMft  liOBa,  fH  «acb  letter  be 

to  carry  juit  tbe  BMaaae  you  waat 

Sentl  DO  money — mail  the  coupon 


.wV 


S2  ia  laa  days  and  U 
■oatkaatiKUIaaiapaid.    U  aol.  ic- 
'V    tuia    theaa  at   aar  anaaaa      A  lair 
Jt  ^^    offer  jwuTI  a(K(.     Ilaa  o 


>RC^ 


'*""'^    V    •••«  routl  tfnt.     Itaa  coopoa  to 

7fM>iir.i^.*.-<s=Car5^iS?    X^  *•  *  a^»  Coai|«y  Caa^  Huioa 
^♦Wi^^o^gryfiaRarSt      \     aad  Iklc  Snaeu.  Cliicaco. 


Quick  Answers  tb  Your 
Difficult  Prebienu 


to    Htt*    IW    "flfo* 
•eitir  pMmpdy 
cvUact  pvtif  K- 


-tow  M  W  MM  HMi^       ■UnteMtnnl 
Avcfagc  ti9  M  («•!>  -imm  M  Mi   4am 

rd  ■— >otii«i  — ifc 


i»4iw>ii  '  fc—  to  H**  Umo.  SM* 

— W*  to  cMpMBli  !•  «■•-        mmi  aflon   thnafh  «i« 


•  !•  it  Jam  fatten  1^ 


I      || 


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1 


This  advertisement  invites  the  eye.  "A  man 
without  a  smiling  face  must  not  open  a  shop,'* 
says  an  old  Chinese  proverb. 


[19] 


i 
If 
M 


II 


f 


YOU  CAN*T  PASS  UP 

The  Fort  Worth  Market 

One  of  the  Richest  in  the  Country 

INCLUDES  ALL  THE  VAST.  NEW  TEXAS  OIL  FIELDS 

(with  $200,000,000  annual  production) 

AND  BUMPER  CROPS  FOR    1919 

(Cotton.  Craiii.  Live  Stock.  Peanuts.  Dairy  Products.  Feedstuffs.  etc  ) 

Offers  To  the  National  Advertiser  a  Potential 
Buying  Power  of  Over  a  Half  Blon  Dollars 

THE  CITY  OF  FORT  WORTH 

With  .  popuUtion  of  150,000  and  growirjg  at  the  [^ ,<?' '^r^n'-Oi^ '"^^P^'^m" 
i.  now  e^Wd  in  TWENTY-FIVE  MILLION  DOLLARS  BUILDING  PROGRAM, 
which  includes  OFFICE  BUILDINGS  (from  10  to  24  stories)  HOTELS  (includinit  17 
•tory  $2  000.000  structure  now  building)  eif ht  new  oil  rrtinenea  in  addition  to  three 
already  built,  manufacturing  plant.,  apartment  hou«..  (including  several  with  over 
too  apartments  each)  and  residence  permits  boing  taken  out  averaging  $30,000  daily 

You  Can  Cover  Thi»  City  and  Market  With  One  Newspaper 

FORT  WORTH  STAR-TELEGRAM 

70,000  SUNDAY 


Ov«r  65.000  DAILY 

Second  paper  in  Tesaa — first  In  Fort  Worth 

Writ*  /or  bookUl  on   marker  anJ  dttmiUJ  circulalioH 

COMPLETE  MERCHANDISING  SERVICE  DEPARTMENT 

Member  A.  B.  C. 


AMOK  C.  CAlinR.  Vlw  fna.  Mid  Cm.  Mir. 


A.  L.  SHUMAN.  Ad««tWat  Mf- 


1 


8 

"Zounds!  I  was  never  so  bethump'd  with  words 
Since  I  first  call'd  my  brother's  father  dad." 

Shakespeare:  King  John 


Why  Buy  a  Bet 
When  You  Can  Buy  a  Certainty? 

Hartford.  Connecticut,  is  a  city  that  responds  to  good 
advertising.  Hartford  probably  has  more  money  per  capita 
than  any  other  city  of  its  size  in  the  world. 

Hartford  bought  $  1 30.000.000  in  Liberty  Bonds,  which 
is  as  near  to  $1,000  for  each  man,  woman,  child  and 
infant  as  any  statistician  can  figure  it. 

The  assets  of  the  banks  of  Hartford  are  greater  than 
the  combined  assets  of  all  the  banks  in  thirteen  different 
States. 

EtUbliahed  in  1817 

The  Times  with  its  36,000  three  cent  circulation 
eliminates  the  element  of  gambling  when  you  go  after 
Hartford  business.  In  this  very  unique  and  exacting  city  it  sells 
25,416  copies  daily  (A.  B.  C.  figures)  against  the  second 
paper's  8,489  (A.  B.  C.  figures)  all  of  which  every  open 
minded  space  buyer  will  admit  is  an  "argument"  in  favor 
of  The  Times. 


Don't  buy  mere  space 


Buy  results 


KELLY-SMITH  COMPANY 

Representatives 
Marbridge  Building  Lsrtton  Binlding 


NEW  YORK 


CHICAGO 


This  is  more  the  way  in  which  a  good  sales- 
man goes  at  his  job.  Enough  emphasis  on 
his  main  points  to  get  attention  without 
"bethumping." 


[.'■ 


i'l  c 


[20] 


[21] 


enter,  with  its  wares  carefully  arranged  and  well 
displayed  for  quick  and  pleasurable  inspection. 

What  would  happen  to  the  salesman  who 
bawled  his  story  into  your  unoffending  ear  as  the 
advertisement  of  the  Fort  Worth  Star-Telegram 
(8)  does  with  its  visual  shriek?  I  am  sure  you 
would  feel  like  handing  him  over  to  the  police. 
WTiat  is  poor  salesmanship  in  person  is  poor 
salesmanship  in  print. 

The  Hartford  Times  advertisement  (9)  does 
its  job  much  better.  You  are  more  willing  to 
listen  to  it  because  it  doesn't  bawl.  And  yet  it  is 
quite  as  emphatic  as  a  good  salesman  needs  to  be. 

Type  dress  should  conform  to  the  character  of 
the  message.  It  is  easy  enough  to  become  smitten 
with  the  idea  that  every  product  demands  a  type- 
face all  its  own  for  its  true  expression  and  then 
start  off  on  a  wild  chase  for  the  right  face  of  type 
to  express  the  soul— of  a  button-making  machine, 

let  us  say. 

WTien  the  rubbish  has  been  swept  away  from 
this  idea,  what  remains  that  is  useful  to  us? 
Simply  this:  we  should  get  into  the  type  dress  of 

[22  1 


m 


our  advertising  as  much  of  the  atmosphere  of  the 
product  as  we  can.  In  other  words,  common 
sense  would  tell  us  to  choose  for  the  advertising 
of  a  tea  gown  or  a  perfume  any  good-looking, 
readable  lightiaice  such  as  Caslon,  Scotch  Roman, 
etc.,  and  to  avoid  boldfaces  such  as  Cheltenham 
Bold.  Or  again,  common  sense  would  tell  us  to 
avoid  feminine  graces  in  the  advertising  of  a 
motor  truck  and  choose  a  vigorous,  sturdy  type 
dress,  fitting  to  machinery  made  for  heavy  duty. 

To  go  beyond  this  simple  rule  of  common  sense 
into  a  search  for  types  peculiarly  fitted  to  express 
the  true  inwardness  of  this,  that,  or  the  other 
product,  is  an  utter  waste  of  effort. 

As  a  good  example  of  fitting  the  type  dress  to 
the  character  of  the  product,  compare  the  two 
Pierce- Arrow  advertisements  shown  in  10  and  11. 
Suppose  for  a  moment  that  the  truck  advertise- 
ment had  been  dressed  as  the  passenger  car  adver- 
tisement now  is.  Could  it  have  suggested  power 
and  strength  for  heavy  trucking  as  it  does  now? 
Or  suppose  the  passenger  car  advertisement  had 
been  dressed  as  that  for  the  truck  now  is.  Could 
it  have  suggested  luxurious  travel  as  it  does  now? 

[23] 


1  r 
I.  J 


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>  t 


t 


n  'I 
r  i 


■><i 


V  >M 


The  only  way  to  really  know 


^icTCtJfrroY^ 


Said  a  demonstrator  connected 
with  the  factory:  "H  I  can  get  a 
prospect  in  this  car  and  run  him 
around  a  bit,  I  can  sell  him." 


Thit  i»  the  present  Mite  oJ 
mind  of  every  man  who  hat 
had  anything  to  do  with  the 
making  of  Pierce-Arrow,  He 
It  turf  the  car  will  aell  iticH. 
The  feeling  the  car  givet 
the  man  who  ride*  in  it  the 
fiitt  time  It  unmittakable 
Driving  would  be  better  than 
riding,  but  even  the  paaaenger 
grtt  that  tente  of  ample 
power,  of  eaie  and  retpontive- 
octt  and  elatticity  the. Dual- 


Valve  engine  mtkei  potiible. 

The  Dull  Valve  it  not  new, 
but  the  three  yeart  tince  it  was 
new  have  been  judicioutly 
uted.  It  i«  better  The  car 
that  dependt  upon  it  it  better. 
The  body  detignt  reflect  the 
qualitiet  fhe  engine  givet  the 
car  and  they  are  full  of  con 
venience  and  comfortt 

Only  a  pertonal  inipection 
can  thowyou  what  ihete  thing* 
•re  and  what  they  mean  to  you 


Pierce 'Arrow  Sales  Co. 

fiu&io 


10 

The  type  dress  helps  to  convey  the  idea  of 
luxurious  travel. 


[24] 


Speed  and  hill  climbing 

The  present  Pierce -Arrows  travel 
from  point  to  point  15%  faster  than 
before.  Their  hill'climbing  ability 
—pulling  out  of  holes  or  through 
sand— is  25%  greater  because  of  the 
Dual  Valve  Engines  in  them. 


Governed  to  an  indicated  speed,  their 
greater  power  pcrmiu  them  to  maintain 
their  pace,  so  they  make  more  trips  and 
cover  a  wider  radius  each  working  dav 


Arr 


lerce 


0" 


ow 


CHASSIS  PRICES 

2  Hon  $37SO 

3  Hon     49  SO 
$.ton     5700 

All  Pricn  FOB.  Bu«>lo 


THE     PIERCE  ARROW     MOTOR    CAR    COMPANY.    BUFFALO     N    V 


XI 


Here  the  type  dress  suggests  power  and 
strength  for  heavy  trucking. 


[25] 


\    '^\ 


-J 


-'.'•ll 


I;. 


i,    J 


am 


It  > 


Decoration.  To  many,  the  idea  of  a  good- 
looking  page  of  print  implies  ornament  or  deco- 
ration of  one  sort  or  another.  This  results  very 
often  in  dragging  ornamentation  into  a  piece  of 
advertising  print  that  would  be  better  without  it. 
Decoration  wisely  used  where  it  belongs,  gives 
an  added  grace  to  the  printed  page,  invites  the 
eye  and  thus  helps  to  deliver  the  message.  A 
good  example  of  this  sort  of  decoration  is  shown 
in  the  Locomobile  newspaper  advertisement  (12). 
Decoration  that  does  not  help  to  catch  the  eye 
or  deliver  the  message  is  not  only  superfluous, 
but  is  harmful.  It  distracts  attention  and  uses 
up  room  that  costs  money.  In  example  13  the 
decoration  fairly  smothers  the  message  and  gives 
it  little  chance  to  be  delivered  effectively. 

In  14  the  decoration  is  again  overdone.  Space 
between  the  paragraphs  that  would  be  better 
left  white  is  here  filled  with  bits  of  ornament 
that  distract  attention  and  slow  up  reading.  A 
single  one  of  the  ornamental  units  between  each 
paragraph  would  not  have  been  entirely  out  of 
place  and  would  have  given  the  relief  of  white 
that  is  now  lacking.  Note  this  improvement  in  15 . 

[26] 


Let  me  quote  here  from  a  report  I  made  re- 
cently to  an  advertiser  on  his  catalog: 

"To  me  it  seems  that  the  real  interest  and 
attention-value  in  a  page  must  come  from  the 
kind  of  pictures  you  use  and  their  arrangement 
with  the  type,  rather  than  from  such  extraneous 
material  as  borders  and  miscellaneous  decora- 
tion. If  the  pictures  of  the  merchandise  are  not 
live  enough  and  good  enough  to  get  attention  by 
themselves  then  there  is  something  seriously  the 
matter  with  those  pictures. 

"I  do  not  believe  that  is  your  case  at  all. 

"It  seems  to  me  I  have  rarely  seen  pictures 
better  adapted  to  their  purpose  than  those  you 
use,  and  in  the  main  they  appear  to  me  to  be  ex- 
tremely well  handled.  That  is  why  I  see  less  and 
less  reason  for  dependence  upon  decoration  as 
such.  If  the  pictures  cannot  get  attention  by  the 
force  of  their  inherent  interest  it  would  be  neces- 
sary for  you  to  get  pictures  that  can." 


[27] 


m 


it 


I 


The  new  six-cylinder  series  is  now  on 
display.  Fashionably  low  in  lines,  powerful,  re- 
fiponsive  and  sweet-runmng — the  perfected  chas- 
sis being  equipped  with  a  beautiful  body,  either 
standard  or  especially  built  to  meet  the  indi- 
vidual taste  and  wishes.  Underlying  all  is  that 
distinction  and  quality  which  have  so  thoroughly 
established  Locomobile  excellence  and  prestige. 

THE  LOCOMOBILE  COMPANY  OF  AMERICA 
Sixty -first  Street,  next  to  Broadway 


12 


Decoration  well  used.  It  adds  to  the  good 
looks  of  the  message  contained  in  the  type 
and  helps  to  deHver  it  effectively. 


[28] 


A  QUESTION  OF  REST 


AT 
^  NIGHT  ^ 


Is  not  5o  much  of  a  question  after 
all;  this  you  will  realize  when  you 
see  our  new  stock  of  selected  live 
Hair  MATTRESSES.  Then, 
too,  we  have  something  warm  in 
Woolen  Blankets  —  the  choicest 
of  stocks  ever  shown  in  Denver. 
We  are  offering  s{:>ecial  prices  to 
create  greater  interest  in  our  store 


The  RED  STORE 

MAIN  STREET,  DENVEPv 


13 

The  decoration  smothers  the  message  and  gives 
it  little  chance  to  be  delivered  effectively. 


if  n 


h 


I 

i 


[29] 


It     . 
1        ^ 

h 


r 


{« 


fk 


HOLLANDER 

MAIN  STREET,  DETROIT 

4r        -^        4^        ^        ^ 

CORSETS 

-^         -^         -^         ^         4^ 

Fine  Batiste  Corsets.  Dip  hip 
and  medium  bust,  supporters 
at  front  and  side.  Guaranteed. 
^1.45 yalucy  $2.so 

4-         -^         4^         4^         4^ 

Stylish  French  Batiste  Corset. 
Trimmed  with  Parisian  Lace. 
Very  neat  for  slender  figures^ 
$i.8s Falue,  I4.00 

^         4         ♦         ♦         * 

"Muriel"  Corsets  for  average 
and  well-shaped  figures.  The 
most  stylish  cut  and  outline. 
From  ^3.00  to  $12.00  per  pair 


nl 


J| 


14 

The  ornamental  units  between  the  para- 
graphs distract  attention  from  the  message 
and  slow  up  reading. 


[30] 


r 


|L 


HOLLANDER 

MAIN  STREET,.DETROIT 


CORSETS 


Fine  Batiste  Corsets.  Dip  hip 
and  medium  bust,  supporters 
at  front  and  side.  Guaranteed. 
^1.45 f^aluCy  I2.50 


Stylish  French  Batiste  Corset. 
Trimmed  with  Parisian  Lace. 
Very  neat  for  slender  figures. 
I1.85 ^alue,  $4.00 

♦ 

"Muriel"  Corsets  for  average 
and  well-shaped  figures.  The 
most  stylish  cut  and  outline. 

From  $3.00  fo  $12.00  per  pair 


nl 


J 


15 

Same  as  14,  except  that,  most  of  the  orna- 
mental units  between  paragraphs  having 
been  removed,  they  no  longer  interfere  with 
quick  reading. 

[31] 


il-;. 


1 1 


I: 
i  J., 

.   Si 


u'  ;i 


The  relief  of  white.  Type  needs  a  relief  of 
white  to  invite  the  eye  and  make  it  easy  to  read . 
The  printed  page  that  is  crowded  and  squeezed 
scares  oflF  readers. 

* 'Thoughts  shut  up  want  air, 
And  spoil,  like  bales  unopen'd  to  the  sun." 

Young 

The  Home  Sector  advertisement  (16)  is  choked 
with  type.  It  cries  out  for  a  bit  of  air  to  breathe 
in,  for  just  a  little  wedge  of  open  space  here  and 
there  to  break  up  the  jam.  \Miat  a  relief  after 
this  to  come  upon  such  an  advertisement  as  is 
shown  in  17.  It  makes  you  feel  as  if  you  had 
just  fought  your  way  through  a  dense  crowd  and 
were  out  in  the  open  again,  free  to  move  about 
as  you  choose  and  fill  your  lungs  with  fresh  air. 

We  must  beware  of  choking  up  our  advertise- 
ments if  we  would  invite  reading.  Give  them  air. 
But  not  so  much  air  that  the  type  has  to  be 
huddled  off  into  a  corner  to  squeak  its  message 
in  a  weak,  thin,  little  voice  not  much  more  than 
a  whisper.  Such  slathering  of  white  space  gets 
us  nothing  and  loses  us  the  chance  of  being  read. 

[32] 


Look  at  the  Bausch  &  Lomb  magazine  advertise- 
ment (18)  and  you  will  see  what  I  mean.  The 
Warren  Company  (19)  makes  a  better  use  of  its 
space.  They  use  it  to  tell  their  story  in  large  type 
that  doesn't  need  a  magnifying  glass  to  read. 


i- 


[33] 


!• 


TENSHUN! 

Every  main  who  served 
his  country  in  the  Army, 
Navy  or  Marine  Corps 
during  the  great  war! 


The  Stars  and  Slripes.  wKicK  was  the  true  voice  of  the  A.  E.  F 
from  the  early  training  days  until  the  signing  oi  the  Peace 
Treaty,  then  went  out  of  existence,  but  the  soldiers  who  wrote 
and  drew  90  per  cent,  of  all  the  material  published  in  The  Slats 
and  Stripes  did  not  scatter,  each  with  his  $60  bonus.  They  have 
kept  close  formation  to  edit  a  new  magazine  which  is  called 

THE  HOME  SECTOR 

A  WEEKLY  FOR  THE    NEW   CIVILIAN 


CONDUCTED  BY  THE  FORMER  EDITORIAL  COUNCIL  OF 

Che  Stars  and  Stripes 

This  new  weekly,  which  makes  its  first  appearance  Septembei 
1 7th,  will  interest  all  red-chevron  Americans  because  it  is  lively  with 

BaUriage't  wonderful  drawinffi— Wallgren'*  hilariotu  cartoons- 
Untold  ttories  of  the  war— Tyiing*  from  all  the  old  Yank  tectort 
in  France,  Belgium  and  Germany— Several  pages  of  humor,  and 

SERVICE,  a  department  which  will  be  jJaced  at  the  disposal  of  the  former  service 
man  to  answer  all  questions  pertaining  to  war-risk  insurance.  Liberty  Loan  bon^ 
back  pay,  travel  pay,  bonuses,  pensions,  legislation— state  and  national— and  the 
dozens  of  other  questions  now  perplexing  former  soldiers  and  sailors.    A»k  Service 

Start  The  Home  Sector  with  this  week's  issue. 

TEN   CENTS,  ON  ALL  NEWS-STANDS 

$5  a  Year.    Write  for  Special  Combination  Offer     AgenU  wanted. 
Tlie  Butterkk  Publishing  Company,  Butterick  Buikling,  New  Yofk 


i6 

After  getting  'Tenshun,  this  advertisement 
repels  further  reading  because  the  type  is 
crowded,  jammed  and  squeezed. 


[34] 


i  ^\ 


n 


Nov  rtady  far  Jiitriiutioti 

The  Committee  for  Newspaper  Research 
announces  the  publication  of 

Attainable  Ideals  in 
Newspaper  Advertising 

An  impartial  study  of 
the  best  ways  to  use  Newspaper  space 


DURING  the  ne«  »-eck  there  will 
be  distributed  to  the  priocipal  ad- 
vettincn  and  advertjaos  agencies  two 
publications  of  the  Committee  for  Kews- 
paper  Reirarth. 

One  book  takes  up  the-  problem  of  get- 
ling  utisfactory  effecu  in  illustration,  re- 
production and  t)-pography  with  news- 
paper Mork  and  facilities.  It  is  illustrative 
and  suggestive,  rather  tha.i  dogmatic.  It 
consisls  of  a  fotly-page  ricwspaper  printed 
on  newspaper  stock,  under  regular  news- 
paper conditions.  It  is  filled  with  specially 
prepared  umple  advcrtiiements  which  il- 
lustrate different  phases  of  the  problem. 


The  "copy"  of  each  advertisement  is  ex- 
pository of  the  principle  involved. 

The  other  book  is  text  matter  which 
takes  up  comprehensively  and  without 
bias  thr  points  for  and  against  the  news- 
paper as  an  advertising  medium. 

The  publications  will  solicit  nothing 
and  have  nothing  to  sell.  They  will  be 
distributed  without  charge. 

The  Committee  offers  its  publications 
in  the  liope  that  they  will  help  solve  some 
of  the  problems  that  confront  users  of 
newspaper  space.  It  believes  that  those 
who  recerive  them  will  find  it  worth 
while  to  study  them  carefully. 


Thu  Study  has  been  made  under  the  auspices  of: 
Tni  Baooum  Daily  Eacu       Ths  Sacmmsnto  Bci 

ThI  MlUNCAfOUS  JOUSNAI.  ThS  MILWAUKEE  JouaNAL 

The  Db  Moines  CAPrrAL  The  Omaha  WoftLD-Huuuo 

and  their  national  representatives 
O'Masa  &  OsHsasE.  Imc 

Committee  for  Newspaper  Research  22s  Fifth  Avenue,  New  vork 


11 


( f 


\ 


tt 


u. 


ti. 


17 

The  openness  and  airiness  of  this 
adv^ertisement  invite  the  eye. 


[35] 


%\ 


A 


piecr  of  gUtf 
exactly  <<ombuitd 


r  /  0  \n$t  a  bit  of  7aiid  tod  of  uU  ^  ^  ^ 
cucfoUy   melted,   skilfully   ioraed 

Sftd  polished  •-•'A  LENS  I       — *nd  windows  oprti  upon  other  worUJf,  too 
•^  liny  or  loo  ur  iway  for  naked  eyei  to 

KC.  Marvelous  instruments  come  to 
the  aid  of  *iiduttry»  or  pUy  their  vital 
part  in  war,  on  land  or  tea  or  in  the  airs 
old  eyes  Krow  younf ,  and  weak  eyea 
stronc— all  throug^h  these  wonderful  hits 
ot  gJASs  ('nlled  lenses,  perfected  hy  sci- 
tnct  that  men  may  sec  better  and  farther. 


%  The  Kicroarope.  rrventinr  nH  arnund  ut  lh« 
s«anBlBs*4rie  of  orflMiismi  loo  »a»U  to  incaa- 
yrt— 

#  The  IrtfKOpe  lcn«.  th?»affh  whirls  dim.  distant 
Mars  draw  n«ar.  and  man  eiplorrs  Ihc  ave-oM 
nystenrt  ol  cekstia)  cTclea— 

fl  The  unrrrinf  rtm^ra  lens,  throuih  which  owe 
modern  wortd  writes  hisiory  in  pKturca— 

A  The  projtKtion  \vn%,  which  Iranslalrs  still  or 
~  movinc  pictures  Iron  slide  or  hln  lo  Ktaca— 

fl  Grrat  searchlifhf  aiirrors.  ranfc  finders.  viM^ 
^  siKhls.  binorulars.  pcriacopea  — tb«  eyea  of 
our  Aeel  and  our  armir. 


a  Uphlhatmtcfryptlatal  leaies.  which  correct 
~  ivcuchl.and  add  lo  Ulc's  richness  and  con- 
lort— 

m  Precise    and  delicate  instrumcnis.  lor  eiact 
~  scicntiftc  research  in  many  hrlds 

These  surresl.  but  (all  lar  »hnrt  ol  measuriaf 
the  couaUess  servKis  rendered  dailr  to  hu- 
maniiirbiF  the  world's  larresi  manulactarcra 
ol  lenses  and  optical  UiMruaents. 

Writ*  f 9^  fiterahtr#  •«  «■«  vplift 

BaiAch  a  Lomb  Optical  Company 

Rochnlcr.  Nun  Votk 
Hot  To*    Cllim    I 


[36] 


i8 

White  space  in  moderation  is  a  good  thing. 
But  it  should  never  be  used  at  the  expense 
of  a  readable  size  of  type,  as  was  done  in 
this  advertisement. 


THE  TRAIN  AND  THE  BOOK 


IN  some  English-speaking  coun- 
tries  newsstands  are  called 
bookstalls,  an^  there  they  sell 
handy-sized  books  to  travelers, 

A  book  that  will  fit  the  pocket 
has  several  advantages.  It  is  light 
in  weight,  easily  held  in  either 
hand,  can  be  carried  from  car  to  car, 
can  be  read  in  the  berth  after  retir- 
ing, and  when  you  have  finished 
it,  you  will  have  read  a  real  book. 

Reading  in  bed,  or  reading  any- 
where, in  those  intervals  when 
there  is  nothing  else  to  do  but  read, 
is  always  more  pleasurable  when 
the  volume  is  compact  and  light. 

Believing  that  the  American 
people,  either  traveling  or  at  home, 
will  welcome  books  that  are  easy 
to  hold  or  carry  about,  books  of 
small  bulk  that  weigh  little,  we  arc 
offering  to  publishers,  for  such  edi- 
tions, a  truly  remarkable  paper 
that  we  developed  originally  for 


the  Encyclopaedia  Britannica  and 
Webster's  Dictionary. 

Warren's  Britannica  India  is  so 
thin  and  light  that  1420  pages 
arc  only  one  inch  thick.  Yet  this 
paper  has  a  smooth,  silky  finish  not 
only  pleasant  to  the  tcSftch,  but  the 
pages  open  easily  and  freely  with- 
out cohesion.  Type  printed  on 
Warren's  Britannica  India  has  high 
legibility  and  for  all  its  thinness 
the  stock  is  remarkably  opaque. 

In  the  New  Century  Library  of 
Standard  Classics,  Thomas  Nelson 
ii  Sons  have  produced  long  works 
like  "David  Copperfield"  and 
"Bleak  House,"  printed  in  ten- 
point  type,  in  little  books  \yix6yi 
inches,  not  quite  ^  inches  thick  and 
weighing  no  more  than  eightounces. 

If  you  own  any  New  Century 
Library  Books,  examine  the  paper. 
It  is  Warren's  Britannica  India  — 
a  Warren  Standard. 


S.D.WARREN   COMPANY,  BOSTON 


BETTER  PAP  ETC 


BETTER.  PRINTING 


'■V 


1 , 
1 

I! 

t-« 

'J 


^'J 


19 

Here,  a  sensible  use  of  the  space  provided 
for  a  size  of  type  large  enough  (in  the  orig- 
inal) to  be  read  with  ease. 


[37] 


i  *l 


ii  nl 


1^ 


II 

Liveliness 

Advertising  typography  must  stimulate  interest 

by  its  liveliness 


# 


11 


■,, 


{( 


Why  should  a  man,  whose  blood  is  warm  within, 
Sit  like  his  grandsire  cut  in  alabaster?" 

Shakespeare:  The  Merchant  of  Venice 


14  • 


II 

Liveliness 

Advertising  typography  must  stimulate  interest 

by  its  liveliness 

The  Century  Dictionary  defines  lively  thus: 

"Full  of  life  or  energy;  active; 
vigorous ;  vivacious ;  brisk ;  alert . ' ' 

Check  up  this  definition  against  the  two  facing 
pages  from  a  booklet  shown  in  20.  Do  these  pages 
look  alive,  brisk,  alert?  They  do  not.  They  look 
deadly  dull.  The  story  they  have  to  tell  may  be 
very  interesting  indeed  but  it  does  not  look  in- 
teresting enough  to  tempt  us  to  read. 

Contrast  20  with  21.  In  21  we  have  a  good 
example  of  liveliness  in  the  printed  page.  It  in- 
vites reading.  It  looks  interesting. 

Suppose  we  analyze  these  two  examples  and 
see  what  was  done  with  the  type  to  make  one  of 
them  dull  and  the  other  lively. 

The  typeface  in  20  is  too  bold  for  easy  reading. 
It  begets  eye-strain.  The  page  looks  heavy, 
monotonous.  The  solid  mass  formation  of  the 

[41] 


t 

I- 

t  < 

i' 


til 


i 


i 


gcnioos  and  (claotlfic  procedure.  In 
1879  he  established  a  photo-engraTinc 
plant  for  the  Crosscup  &  West  Company, 
of  Philadelphia,  which  concern  in  1881 
bcfan  to  manufacture  his  baif-tone  plates 
iiiMMliriillj  In  1886  he  perfected  the 
ffecati  as  now  unirersaUy  used;  but, 
uafortunatelT,  neither  Mr.  Ires  nor  his 
«Dpk>yen  at  this  period  realized  the 
commercial  value  of  the  invention  of  what 
is  now  known  as  the  sealed  aom  line,  or 
the  pin-hole  glass  screen,  tlwimh  whkh 
the  photogra^ic  image  it  tanpraised  on 
the  sensitised  film.  The  desire  on  the 
part  of  the  employers  of  Mr.  Ives  to  re- 
tain the  pcocesa  as  a  secret  resulted  dis- 
aslnmal;  from  a  commercial  standpoint, 
for  the  reason  that  others,  realizing  the 
value  of  this  new  process,  immediately 
tamed  their  attention  to  a  means  of  se- 
curing similar  results,  and  by  obtaining 
patents  protected  themselves  eOectually 
■gainst  other  inventors. 

The  current  history  of  the  art  has 
demonstrated  very  effectually  that  Mr. 
Ivea'  bosinaas  associates  made  a  serious 
tmt  in  thajr  failure  to  protect  the  origi- 
nator of  the  device,  because  it  is  within 
common  knowledge  that  other  manu- 
fMtimn  have  ac«ujnulated  large  weattb 

* 


by  means  of  the  keener  insight  into  < 
mercial  possibilities,  although  the  origin 
of  the  idea  was  based  upon  the  inven- 
tions of  Mr.  Ives. 

At  about  the  period  last  named,  Mr. 
Ives  developed  the  method  of  segregating 
primary  colors  from  a  given  subject  by 
means  of  an  interposing  color  filter,  which 
will,  in  common  parlance,  pick  out  and 
retain  in  the  "eye  of  the  camera"  tb* 
three  primary  colors,  which  are  by  com- 
mon acclaim  denominated  yellow,  red, 
and  blue.  Three  separate  plates  being 
made  from  three  negatives,  and  etched 
by  certain  processes  which  are  the  result 
of  akiil  aad  aiyatience  of  the  pboto- 
aiitiw,  «kM  wperimposed  in  the 
fftalii*  proeaH,  produce  a  faithful  replica 
of  the  original.  This  feature,  however, 
ia  of  coouaon  knowledge  to  the  printing 
fraternity,  but  perhaps  due  credit  ia  not 
tendered  to  Mr.  Ives  for  the  moat  im* 
portant  part  he  has  played  in  the  dtvalop' 
ment  of  the  art,  lor  the  pcocaai  of  the 
Iri-chromatic  printing  as  kaMm  today 
is  due  to  the  inventive  genios  of  Fiadack 
Eugene  Ives. 

Process  printing  has  compelled  im- 
promnents  in  manufacturing  of  aD  the 
elemcnta  ent«iB«  into  printing,  par- 
* 


\ 


HOLMKS      PaOTKCTIOH 


The  Holaaca  Systeaa 

TMis  lystrm  of  elirtric  protertion  is  not  the 
local  alarm  or  bel|.on-building  type  of  ugnaL 
Such  a  lyttrm  w««  abendonrd  by 
the  HoUnn  Company  »B  ynn  ago 
at  inadequate.  The  Holmes  Sy«- 
tem  ii  an  intricate  and  potitive 
crntral  ofHce  alarm  lystrm  in  which 
all  important  entrances  and  vulnerable  poinU  of 
attack  m  well  ai  valuable  show  casev  a"*)  recep- 
tacha  of  mefchaodise  arc  wired  electrically 


;  lypr  01  Mgnai. 


An  individual  alarm 

THIS  (ystem  of  interior  wiring  U  coonectrd 
■rith  the  Holmes  Central  Office,  where  il 
terminates  in  an  individual  rrgtstenng  iuitninient 
that  aervn  your  property  and  no  other. 

This  instrument  at  all  times  iiMlicates  the  con- 
ditioa  of  the  winng  on  your  premises  and  thus 
maket  pouible  the  cvly  discovery  of  many  fires, 
leaks  and  other  irregularities. 


HI 


HOLMRS      raOTECTION 


If 


20    An  effect  of  deadly  dullness  that  discourages  reading 

page  lets  too  little  daylight  come  through  the 
type.  More  space  between  the  lines  would  have 
helped  considerably,  but  not  enough.  The  type- 
face itself  is  too  heavy.  The  paragraphs  are  too 
long — only  three  paragraph  breaks  on  two  pages. 
There  are  no  other  sort  of  breaks  to  give  a  bit  of 
breathing  space  and  interrupt  the  flow  of  words, 
words,  words.  The  whole  produces  an  effect  of 
deadly  dullness  that  discourages  reading. 

What  gives  21   its  liveliness.^  The  little  sil- 

[42] 


No  delay  with  Holmea 

IN  TBI  Holmes  System,  shouM  the  wires  be 
tampered  with  or  in  any  way  disturbed,  an 
alarm  a  immediately  indicated  on  the  individual 
registering  instrument  in  the  Holmes  Central 
Office. 

A  burglar  attempting  to  get  in  migkl  jutl  lu 
well  Itbpltimt  a>  ia  advanee.  for  that  is  really  what 
he  does  when  he  attempU  to  rob  property  pro- 
tected by.  the  Holmes  System. 

Here  on  adequate  force  of  trained  and  experi- 
enced men  are  constantly  on  duty.  They  moke 
immediaU  respooae.  Your  property  is  protected. 

What  the  Holmes  System  doe* 

It  prolecU  against  burglary 

rr  DOES  this  beeaiue  all  important  openings  and 
all  vulnerable  points  of  burglar 
attack  arc  connected  elertrically. 


Thb  system  of  interior  wiring  in  W 
turn,  it  connected  with  the  alann   \ 
sounding  instrument  in  the  Holmes 
Central  Oflice. 


^ 


21    Liveliness  that  stimulates  interest 

houette  pictures  help  of  course.  But  let's  forget 
the  pictures  for  a  moment.  These  pages  would 
have  been  lively  without  them.  In  the  first  place, 
the  typeface  itself  is  lighter  and  one  to  which  we 
are  more  accustomed  in  our  general  reading.  It 
is  familiar  and  easy  as  an  old  friend.  There  is 
plenty  of  space  between  the  lines  to  let  the  day- 
light come  through.  Display  heads  and  sub- 
heads break  up  the  monotony  of  solid  text  and 
stimulate  interest.  Short  paragraphs  provide  fur- 

[43] 


if 


1  <. 


i  fl 


■ti 


J  I" 


' 


I 


\\ 


r  i 


ther  breaks  and  add  to  briskness.  These  pages 
look  alive  and  warm.  They  attract  us  as  any  live 
thing  does. 

Compare  the  two  magazine  advertisements  re- 
produced in  22  and  23.  As  you  look  at  22  you 
feel  as  if  it  were  going  to  be  a  good  deal  of  a  job 
to  read  it.  The  typeface  itself  is  hard  to  read 
and  reading  is  made  still  harder  by  lack  of  space 
between  the  lines.  A  solid  mass  of  type  like  this, 
unbroken  except  for  space  between  paragraphs, 
does  not  invite  the  eye.  The  type  arrangement 
does  not  of  itself  stimulate  interest  in  what  the 
advertiser  has  to  say. 

23  is  livelier.  Reading  is  made  easier  both  be- 
cause of  the  typeface  itself  and  the  openness  of 
its  composition.  There  are  no  long,  unbroken 
stretches  of  text.  The  eye  is  invited  because  the 
type  looks  as  if  it  might  have  interesting  things 
to  tell  us. 

The  Vanity  Fair  advertisement  (24)  shows 
liveliness  in  type  arrangement  carried  a  good  deal 
farther  than  is  possible  for  products  requiring 

[44] 


the  presentation  of  closely-knit  argument.  The 
vivaciousness  of  the  copy  itself  in  the  Vanity 
Fair  example  offered  a  chance  for  lively  handling 
in  type,  of  which  the  advertiser  has  taken  full 
advantage. 

49  and  50  are  good  examples  of  lively  presen- 
tation .  The  very  look  of  them  stimulates  interest 
in  what  they  have  to  say. 

58,  on  the  other  hand,  looks  so  puffed  up  with 
ponderous  dignity  that  it  scares  us  clean  off  the 
premises.  We  feel  that  we  are  not  on  friendly  soil. 


[45] 


i  :  f-% 


,m1 


A 


! 


i» 


Make  It  Readable 


You  ciat  get  results  from  adver- 
tising unichs  people  read  iuThe 
more  people  who  read  it,  the 
brger  the  restuhs  you  obtain.  Make  it 
rcad^le,  therefore,  if  you  want  to 
make  it  more  productive.  Tliat's  the 
gi»t  of  the  mes»jige  in  this  announce- 
meat  which  is  itself  intended  to  be  a 
sample  of  the  more  readable  sort  of 
advertising  we  are  talking  about. 

This  advertisement  is  set  by  band  in 
foundry-cast  type.  As  you  can  see  for 
yourself,  it  is  easy  and  inviting  to  read, 
and  has' besides  a  marked  distinction 
and  type  character  both  pleasing  and 
attention  compelling. 

Our  booklet,  Foundry-Cast  Type  and 
Hand  Composition,  is  sent  free  to  ad- 
vertisers and  buyers  of  printing.  It  tells 
ho«v  to  get  this  supreme  readability 
and  type  character  into  all  your  print- 
ing and  advertising  without  adoing  a 
penny  to  its  cost 

Every  advertiser  and  buyer  of  print- 
ing needs  to  know  the  important  dis- 
tinctions between  machine  type  and 
machine  typesetting  and  foundrv.cast 
type  and  hand  typesetting.  All  real 
founder's  type  must  be  set  by  hand 
in  a  "stick"  in  the  old-fashioned,  crafts- 
manship way.  And  it  is  the  foundry 
type  which  you  must  have,  if  you  want 
to  secure  printed  pages  that  are  easy 
and  inviting  to  read.  This  is  so  because 
only  the  founder  is  able  to  make  tyne 
truo^  to  the  pattern  of  the  master  ae- 
eigner  who  originally  cut  the  letters, 
years  before  tyf>emaking  and  typeset- 
ting machines  were  invented. 


Machine  type  has  to  be  convention- 
alized— emasculated  from  the  original 
dexign — tofitthelimitationisof  the  ma- 
<;hine  process;  and  as  a  result  all  of  the 
readability  and  type  character  which 
Caslon  or  Bodoni  pur  into  the  letters 
is  lost.  Machine  type  is  not  only  lark, 
ing  in  readability  and  character,  but 
machine  typesetting  also  adds  further 
imperfections  to  the  printed  page. 

No  machine  can  take  the  place  of  ho* 
man  fingers  in  setting  readable  type 
pages.  It  reouires  the  trained  hand  and 
eyes  of  gooa  hand  compositors  to  prop- 
erly apportion  white  spacing  between 
words,  to  give  your  printing  or  advert 
tising  a  close  set,  and  to  keep  out  the 
"rivers  of  white  which,"  as  George 
Bernard  Shaw  says,  "trickle  up  and 
down  between  the  words  on  every  ma- 
chine-set page,  like  raindrops  on  the 
window  pane." 

Machine  type  and  machine  typesetting 
may  do  for  cheap  books,  publications 
ana  other  rush  work  where  output  is 
more  important  than  quality,  but  all 
good  books  and  all  readable  advertis- 
ing must  be  set  by  hand  in  true  foun- 
dry-cast type. 

Your  printer,  every  printer,  has  foun- 
dry-cast type  and  hand  compositors.  He 
can  give  you  the  better  hand  typeset- 
ting and  the  foundry-cast  type,  if  you 
ask  for  it,  instead  of  the  iiuerior  ma- 
chine-set producL 

Write  today  for  our  booklet  which  ex- 
plains why  it  pays  to  specify  hand  com- 
position and  foundry-cast  type. 


AMERICAN  TYPE  FOUNDERS  COMPANY 

JERSEY  CITY,  N.  J. 
Branch  Houses  in  Twenty  Leading  Cities  in  U.  S.  A. 


22 

The  headline  says,  "Make  It  Readable," 
but  the  typography  of  this  advertisement 
does  not  carry  out  its  own  advice.  It  does  not 
look  alive. 

[46] 


Does  your  typography 

come  rig'ht  the  first  time? 

.Are  you  spending  time  and  money  for 
unnecessary  printer's  revisions? 


SHERBOWS  TYPE  CHARTS  are  a  work- 
in-  tool  for  practical  advertising  men.  They 
are  useful  because 

1  they  tell  you  instantly,  without  elaborate 
calculations,  how  best  to  stt  a  given 
amount  of  copy  in  a  given  space. 

2  they  visualize  for  you  in  advance  exactly 
how  your  type  will  look, 

3  they  solve  for  you  vexatious  problems  of 
efft-ctive  lieads  and  subheads  to  give  vigor 
and  sparkle  to  your  advertisement. 

4  I  hey  solve  for  you  problems  of  proper 
leading  and  spacing,  and  correct  lengths 
of  lines  for  different  sizes  of  types,  the 
essential  importance  of  which  in  good 
typography  is  little  understood. 

5  they  make  your  copy  come  right  the  first 
time  without  waste  of  effort  or  costly 
printer's  revisions. 

C  they  bring  to  you  ihe  result  of  fourteen 
years"  study  ni  the  Ivpopraphy  of  adver- 
tising and  definite  »t:indiirds  by  which 
yoiir  «t>py  ran  Im-  iiiiidf  iiiort-  effective 

IVhu  are  usinff  them? 

The  rt-siioii-x-  of  the  advertising  world  to 
Sherbow's  Tvim-  Cliiirtii  has  been  so  great  a* 
to  make  ne^^•».•«lr^  a  wfond  edKion. 

Advert  ixing  .ig«-ncie».  big  and  little,  are 
using  tiK-se  Charts  n-gularly  on  every  job 
that  tbi-\-  handle 

Bankii.  d«-piirtn«-nt  store*,  automobile 
makers,  mail  order  hous<-».  engineering  con- 
cerns  insurance  coinpaniet,  brokers.  taik>rs. 


manufacturers  of  cans,  cement,  plows,  pen- 
cils, dynamite,  cameras,  chocolates,  paper, 
automobile  accessories,  knit  goods,  soap, 
paint,  chewing  gum  and  innunieraole  other 
products  find  Sherbows  Type  Cluirts  esaen 
tial  in  their  advertising. 

Printers  are  using  them  to  s|)eed  up  and 
clinch  sales  by  letting  the  customer  see  in 
advance  exactlj  what  ho  wants 

Piiblisners  of  magarines.fradepapers.  news- 
papers, books  are  sold  conclusively  on  Iheiii 

Letters  of  appreciation  which  |)Oiir  in 
indicate  how  invaluable  the  Charts  are  The 
writers  have  discoven-d  fur  llinnsrhcs  not 
only  the  time-  and  cost-s.nving  features,  but 
also  the  ccrtamty  with  w  Inch  a  decision  ran 
be  made  and  misunderstandings  prevented 

»  »  • 
SHERBOWS  TYPE  CHARTS  are  in  no 
sense  type  "specimen  books."  They  consist 
of  l-i08  combiiialioiit  of  types,  headlines,  etc.. 
of  the  sort  constantly  used  in  advertisements, 
booklets,  ear  cards,  catak>gs,  |K>sters  and 
folders.  They  are  not  text  books— tlie>  are 
at  your  elbow  to  answer  typ<-  questions  from 
one  minute  to  another  in  the  day's  work 

IVrite  toclai/Jbr  a  prospectus 

This  prospect  us  contains  74  ot  the  many  testi- 
monial letters  and  shows  in  detail  the  way  m 
which  the  Charts  can  help  make  jrour  adver- 
tising more  effective 

Pirate  mrnlion  thii  puhltealion 

BENJAMIN  SHERBOW 

50  Union  Square,  New  York 


Sherbow's  Type  Charts 

"Everything  visualized" 


23 


This  is  livelier  than  22.  The  eye  is  invited 
because  the  type  looks  as  if  it  might  have 
interesting  things  to  tell  us. 


'>  Si 


[47] 


NOW  USTEN  QOETLY! 


You  don't  nc«d  to 
be  hit  over  the 
bead  before  yon'U  tee. 
a  new  idea. 

You  don't  need  to  b« 
•suulicd  and  battered 
into  a  (rin  of  ap- 
proval 

Yon  like  to  aoiile  al 
living.  Yoa  have  a 
lane  for  Art  and 
Drama  and  Leitera. 

You're  keen  for. 
aports  and  motora. 
Yon'r^  a  (ood  work- 
inp[  mouel  of  a  citiaea 
with  leiiure  intereata. 
Arcn'l  joat 


Then  Vanity  Fair  it 
made  for  70a  aad 
your  kind. 

Vanity  Fair  l>eli«««a 
that  it  i>  better  I*  k* 
fay  and  Krariaiu  Aa* 
•ad  and  sullen. 

That  Lillian  Lorraine 
ia  juat  a>  inlerMting 
as  Alaacc  -  Lorraioo, 
any  day. 

That  Coif  ■•  a>  imper* 
taol  ■«  Uoyd-Georgo. 

Thai  ■  n«w  aymphony 
ia  far  more  trupir- 
ing    than    a    negative 

Scsats. 


read 

VANITY  FAIR 

the  magazine  of  leisure  interests  for  men  who  know  enough  to  have  thetn 

Vanity  Fair  makes  ■  dirert  appeal  to  pr«ple  of  intellect  and  appreeiation.  To 
■ten  aad  women  with  a  Oair  for  the  arts  and  Kracea  that  brighlen  a  workaday 
world.  And  "Whether  your  Vanity  Fair  6nda  you  at  Piping  Rock,  Loag 
laland,  or  Pinfeather,  Arixaaa,  it  will  iaiereat  and  amiaae  and  entertain  yoo. 


VANITY  FAIR  collrcts  and  rrfl«t»  the  gleim 
and   brilliance  irom  every  shining  facet  of 
metropolitan  life. 

THE  STAGE?  P.  G.  Wodehouse— George 
Jeati  Nathan — Dorothy  Parker  will  write 
about  the  stage,  Dorothy  being  the  inciter  of 
"The  First  Hundred   Play»  Are  the   Hardest." 

SATIRE?     Sifphen  Leacock— Robert   Bench- 
ley — George  Chappcll — humorists  with  a  bite 
-•-ivitty  with  a  dath  of  acid. 

SPORTS?    Grant  Rice  and  other  keen  writ, 
ing  sportsmen  do  the  golf,  motors,  airplanes, 
und    the 


aporU. 


other    skiing,   skating,    and    skidding 


LETTF.RS?    Lord  Dunsany— G.  K.  Chesterton 
'  — Hugh    Walpolc — Thomas     Burke — ^voya- 
geurs  in  a  New  World  of  letters. 

ARTS?  Sir  William  Orpen— Jo  Davidson— 
XI  Paul  Klanship— Frank  Brangwyn — and  the 
younger  artists. 

PORTRAITS?  Vanity  Fair  prides  itself  on 
knowing  every  lovely,  brilliant,  or  bizarre 
woman  in  the  world  and  printing  her  photo- 
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CLOTHES?    The  only  department  of  sensi- 
ble,   well-bred,  correct   fashioiu   for   men 

published  anywhere. 


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Two  Years  of  Vanity  Fair  for  $4 

Vanity  Fair**  recular  Rubscription  piHcc  from  now  on,i»  83.50  a  year — two  jernr*  ST-OOl 
But  if  you  mail  that  rouimn  now,  you  may  have  TWO  YEARS  OF  VANITY  FAIR 
FOR  i*.    A  Mving  of  8^  on  the  regular  subscription  price. 

Life  isn't  so  fall  of  cheerful  things  that  you  caa  afford  to  miss  Vanity  Fair.  DonH 
hesitate!    Don't  delny !     Don't  stand  around  on  one  leg  lilie  the  Sutue  of  Trans- 

rportation  on  the   State   Capitol!     Sign   that   coupon!    This  offer  will 
not  be  held  open  long! 
■«>    mniii ■■'1  .rri'i  ft.-"'  ••  -'rt^''  ■"■•T.iT  iOir-'p  .■.^.:"'" -.  "< "  r---'  -■it--":-,"- — -1— '!r-T(i^^m!iflp^%jm,ini(aBij»iBJio^afa«Mj::nraa 
VAMTY  FAIR,  19  WEST  44ih  STREET.  NEW  \OHK  CITY 
I  »m  toini  10  see  for  myteK  if  voa  ir.  ujrood  u  you  ihink  roa  ire      Entrt  ny  «b«CTiption  for  two  yeir*. 
I«»mnm«   w.ili   ihr   nr.i   i>ou.bic  iMOC      Act.  •  m,   (our  dolUrt  (OR)    I  U  remit   four   lialUrs  aa   receipt 
of  your  Dill      (Canadiao  %i  i 
Naa*                                                                                              Stre«                                        
CMy                                                                                         Stale                .^         •• 
Ilhutraliaat  carni*^  Vaaity  Fair                                          A.M.t-« 


24 

"A  merry  heart  raaketh  a  cheerful  countenance.' 

Book  of  Proverbs 


[48] 


Display 

The  use  of  lively  display  heads  and  subheads 

Display  heads  are  intended  to  catch  the  eye  of 
the  reader  and  convince  him  that  our  advertise- 
ment has  a  live  message  for  him.  He  might  dis- 
cover this  for  himself  without  the  display  heads 
if  we  could  depend  on  him  to  begin  at  the  begin- 
ning and  read  to  the  end  of  our  story.  But  since 
we  cannot  depend  on  anything  of  the  sort,  we 
erect  sign  posts  (display  heads)  to  stimulate  his 
interest  and  give  him  in  a  quick  glance  the  vital 
points  of  our  message. 

Display  type  may  be  either  lightface  or  bold- 
face. It  may  be  either  a  larger  size  of  the  type 
in  which  the  body  of  the  advertisement  is  set  or 
it  may  be  a  bolder  face. 

Contrast  is  what  we  need  in  display. 

Display  heads  must  stick  out  of  the  page  and 
call  particular  attention  to  themselves. 

If  they  do  this  sufficiently  for  the  purpose  in 
hand,  they  may  be  either  lightface  or  boldface. 

[49] 


J 

\  *  ■ 

i. 

1  i . ' 

k" 

' 

^- 

f 

u 


.'  ^1 


>  kl 


I     '  -a 


r 


For  a  line  of  secondary  Emphasis 


The  Century  Dictionary  defines 
emphasis  aa-  "Significant  stresa. 
Special  stress  or  foree  of  voice 
given  to  the  utterance  of  a  word, 
a  succession  of  words  or  part  of 
a  word  in  order  to  excite  special 
attention;  to  bring  put  clearly  or 
distinctly;  make  more  obvious 
or  more  positive." 

Make  your  type  look  alive. 

Make  it  look  as  if  it  had  some- 
thing interesting  to  say 

Give  it  some  accent  and  inflec- 
tion. 

Don't  fet  it  drone  on  endlessly 
in  a  low,  muttered  monotone. 
Let  it  tell  your  business  message 
as  clearly  and  distinctly  as  poaai- 
bie  and  with  all  proper  emphasia. 

A  subhead 
set  in  14-point  type 

Please  'don't  misunderstand  me. 
I  am  not  trying  to  boost  the 
tendency  to  over-emphasise 

In  advertising,  this  tendency  is 
already  too  strong. 

Over-emphasis  nullifies  itself, 
becomes  tiresome  to  the  reader. 


and  by  reason  of  its  quantity, 
ends  by  being  no  emphasis  at  all. 

In  using  display  of  more  than 
one  line,  try  to  break  up  the  lines 
by  the  sense  of  the  words  rather 
than  by  the  number  of  words 
that  will  come  into  the  width  of 
a  line.  Note  how  that  is  done  on 
this  page. 

The  tendency  to  fill  the  first 


line,  regardless  of  how  the  words 
break  by  sense,  is  not  good. 

Keep  in  mind  that  the  chief 
idea  in  display  is  to  excite  inter- 
est and  to  impart  a  thought  in 
the  quickest  w4y  possible. 

There  are  few  capital  letters 
in  the  display  lines  shown  here. 
Lower  case  letters  are  easier  to 
read — less  confusing  to  the  eye. 


A  further  reduction  of  Emphasis 


Xype  is  a  message-carrier.  It  is  a 
means  of  communication  with 
our  felk>w  beings.  It  is  visualized 
speech. 

It  is  hard  enough  at  best  to 
get  ourselves  understood  by  the 
people  to  whom  we  are  talking. 

And  so  if  we  know  what  we 
are  about,  we  don't  mumble  our 
words,  we  try  not  to  talk  in  too 
low  a  tone  to  be  heard  comfort- 
ably, but  we  say  what  we  have 
to  say  as  clearly  and  distinctly 
as  possible. 

If  we  will  remember  that  type 
is  meant  to  be  read,  it  will  keep 
oa  from  using  "artistic"  types 


hard  to  read;  from  squeezing  up 
type  until  it  chokes  for  want  of 
breath;  it  will  keep  us  from  using 
type  too  small  or  too  large  to 
read  comfortably,  and  from  set- 
ting it  in  lines  too  long  for  the 
eye  to  follow  without  a  ruler. 

The  first  Hne  set  wider 

than  the  second 

If  we  will  keep  in  mind  then  the 
primary  function  of  type  as  a 
carrier  of  thought  it  will  keep 
us  from  doing  tncks  with  it  that 
may  amuse  lu,  but  play  the  very 
deuce  with  our  advertising. 


25 

Display  heads  in  lightface  type 

In  example  25  the  display  heads  are  in  light- 
face — in  a  larger  size  of  the  face  in  which  the  body 
is  set.  Note  that  in  26  the  three  subheads  are 
each  set  in  a  smaller  size  than  similar  heads  in 
25  and  yet  oflfer  more  contrast  because  the  face 
is  bolder. 


[50] 


For  a  line  of  secondary  Emphasis 


The  Century  Dictionary  defines 
emphasis  as:  "Significant  stress. 
Special  stress  or  force  of  voice 
given  to  the  utterance  of  a  word, 
a  succession  of  words  or  part  of 
a  word  in  order  to  excite  special 
attention;  to  bring  out  clearly  or 
distinctly  make  more  obvious 
or  more  positive." 

Make  your  type  look  alive. 

Make  it  look  as  if  it  had  some- 
thing interesting  to  say 

Give  it  some  accent  and  inflec* 
•tion. 

Don't  let  it  drone  on  endlessly 
in  a  low.  muttf^red  monotone. 
Let  it  tell  your  business  message 
aa  clearly  and  distinctly  as  possi- 
ble and  with  all  proper  emphasis. 

A  subhead 
set  in  12-point  type 

Please  don't  misunderstand  me. 
I  am  not  trying  to  boost  the 
tendency  to  over-emphasise. 

In  advertising,  this  tendency  is 
already  too  strong. 

Over-emphasis  nullifies  itself, 
becomes  tiresome  to  the  reader, 


and  by  reason  of  its  quantity, 
ends  by  being  no  emphasis  at  all. 

In  using  display  of  more  than 
one  line,  try  to  break  up  the  lines 
by  the  sense  of  the  words  rather 
than  by  the  number  of  words 
that  will  come  into  the  width  of 
a  line.  Note  how  that  is  done  on 
this  page. 

The  tendency  to  fill  the  first 


line,  regardless  of  how  the  word* 
break  by  sense,  is  not  good. 

Keep  in  mind  that  the  chief 
idea  in  display  is  to  excite  inter- 
est and  to  impart  a  thought  in 
the  quickest  way  possible. 

There  are  few  capital  lelters 
in  the  display  lines  shown  here. 
Lower  case  letters  are  easier  to 
read — less  confusing  to  the  eye. 


A  further  reduction  of  Emphasis 


Type  is  a  message-carrier.  It  is  a 
means  of  communication  with 
our  fellow  beings.  It  is  visualized 
speech. 

It  is  hard  enough  at  best  to 
get  ourselves  understood  by  the 
people  to  whom  we  are  talking. 

And  so  if  we  know  what  we 
are  about,  we  don't  mumble  our 
words,  we  try  not  to  talk  in  too 
low  a  tone  to  be  heard  comfort- 
ably, but  we  say  what  we  have 
to  say  as  clearly  and  distinctly 
as  possible. 

If  we  will  remember  that  type 
is  meant  to  be  read,  it  will  keep 
us  from    using  "artistic"  types 


hard  to  read;  from  squeezing  up 
type  until  it  chokes  for  want  of 
breath;  it  will  keep  us  from  using 
type  too  small  or  too  large  to 
read  comfortably,  and  from  set- 
ting it  in  lines  too  long  for  the 
eye  to  follow  without  a  ruler. 

The  first  line  set  wkier 
than  the  second 

If  we  will  keep  in  mind  then  the 
primary  function  of  type  as  a 
carrier  of  thought,  it  will  keep 
us  from  doing  tricks  with  it  that 
may  amuse  us.  but  play  the  very 
deuce  with  the  effectiveness  of 
our  advertising. 


26 

Display  heads  in  boldface  type 


'  i'T 


In  the  use  of  display  type,  we  should  bear  in 
mind  the  following  five  things: 

1  It  must  stand  out. 

2  It  must  be  easy  to  read. 

3  It  must  be  good  to  look  at. 

4  It  must  be  arranged  so  that  its  sense  is  clear 
at  first  glance. 

5  We  must  not  overdo .  All  display  is  no  display . 

[51] 


A  most  important   Removal  Sale  offering 
which  combines  holiday  giving 

with  practical  economy — 
Hand  Bags  and  Vanity  Cases 
Of  velvet,  faille,  moire,  brocades  and  im- 
ported leathers,  with   mountings  of  gold, 
sterling  silver,  enamel,  hand-carved  Gala- 
leath  and  ivory— smartly  fitted ,  richly  lined . 


27  The  display  line  does  not  stand  out.  Too  small  and  crowded. 


A  most   important   Removal  Sale  offering 

which  combines  holiday  giving 

with  practical  economy — 

Hand  Bags  and  Vanity  Cases 

Of  velvet,  faille,  moire,  brocades  and  im- 
ported leathers,  with  mountings  of  gold, 
sterling  silver,  enamel,  hand-carved  Gala- 
leath  and  ivory— smartly  fitted ,  richly  lined . 


28     Better  than  27  because  of  white  space,  but  still  too  small. 


A  most   important   Removal  Sale  offering 

which  combines  holiday  giving 

with  practical  economy — 

Hand  Bags  and  Vanity  Cases 

Of  velvet,  faille,  moire,  brocades  and  im- 
ported leathers,  with  mountings  of  gold, 
sterling  silver,  enamel,  hand-carved  Gala- 
leath  and  ivory— smartly  fitted,  richly  lined. 


29   Display  line  large  enough  to  stand  out 

[52] 


A  most  important  Removal  Sale  offering 

which  combines  holiday  giving 

with  practical  economy — 

Hand  Bags  and  Vanity  Cases 

Of  velvet,  faille,  moire,  brocades  and  im- 
ported leathers,  with  mountings  of  gold, 
sterling  silver,  enamel,  hand-carved  Gala- 
leath  and  ivory— smartly  fitted,  richly  lined. 


30    Display  line  does  not  stand  out  enough.    Too  crowded. 


A  most  important  Removal  Sale  offering 

which  combines  holiday  giving 

with  practical  economy — 

Hand  Bags  and  Vanity  Cases 

Of  velvet,  faille,  moire,  brocades  and  im- 
ported leathers,  with  mountings  of  gold, 
sterling  silver,  enamel,  hand-carved  Gala- 
leath  and  ivory— smartly  fitted, richly  lined. 


31     With  white  space  around  display  it  stands  out  better 


;   I 


<J 


I  Display  must  stand  out .  The  display  in  27  does 
not  stand  out.  The  display  does  not  offer  enough 
contrast  to  the  body  type;  first,  because  the  face 
is  too  light  for  the  size  used;  second,  because 
there  is  not  enough  white  space  surrounding  it. 

28  is  better  beca-use  the  display  type  has  some 
daylight  around  it,  but  it  is  still  too  weak  to 

[53] 


'  'ii 


K&H  Electric  Indus- 
trial Elevators 

and  electric  auto- 
matic dumbwaiters 
operate  with  a 
smoothness  and 
dependability  char- 
acteristicof  healthy 
human  orsians. 


HIGHEST  IN  PRICE- 
PERFECTION  THE  GOAL 


iff 


32     This  type  is  not  clear  and  readable.  Aptly  named  "Hobo." 

stand  out  enough.  If  we  want  to  use  lightface 
display  type,  it  will  have  to  be  in  a  larger  size. 
This  has  been  done  in  29.  We  now  have  enough 
contrast  to  make  the  display  stand  out. 

In  30  a  bolder  face  of  display  type  is  used  but 
it  does  not  stand  out  enough  because  it  is  jammed 
and  squeezed.  With  more  white  around  the  dis- 
play (as  in  31)  it  stands  out  better. 

[54] 


Summer  belongs  to  women  too! 

In  summer  the  wise  housekeeper  eases  up  her 
work  indoors.  She  takes  advantage  of  every  short 
cut  to  enjoy  her  vacation.  One  of  her  big  helps  is 
Campbell's.  With  a  case  of  Campbell's  Beans  in 
her  pantry,  she  serves  many  a  meal  easily,  quickly 
and  to  everybody's  satisfaction.  Campbell's  are 
famous  for  one  reason— because  they  are  good. 

15c  a  Can 

Eicrpt  »ett  o(  MisMMippi  Rivff  and  in  Can»dj 


33    This  Cheltenham  Bold  display  line  is  easy  to  read 

2  Display  must  be  easy  to  read.  The  typeface 
in  32  is  not  clear  and  readable.  That  in  33  is. 

We  must  avoid  the  use  of  eccentric,  curly  cued 
typefaces  in  delivering  our  advertising  message 
if  we  want  to  be  clear  and  plain  in  our  speech. 

A  good  salesman  does  not  need  to  dress  him- 
self in  outlandish  clothes  to  get  attention.  And 
he  tries  to  cultivate  simple,  plain,  direct  speech. 

34  shows  examples  of  a  few  display  types  that 
are  easy  to  read  and  good  to  look  at. 

The  types  shown  in  35  should  be  avoided  if 
we  want  attractive,  easy-to-read  display  lines. 

[55] 


V      if 


f! 


i  ! 


9 


-  i 


.  % 


\ 


t'  I 


1 1 


This  is  Cheltenham  Bold 

This  is  Century  Bold 
This  is  Caslon  Bold 


This  is  Bodoni 


This  is  Bodoni  Bold 

This  is  Bookman 


34    Good  display  types 


[56] 


^^ 


This  is  Gotliic 

This  is  DeVinne 

TMs  is  Roycroft 

This  is  Cheltenham  Bold 

(Extra  Condensed) 


35    Poor  display  types 


[57] 


i§ 


Display  lines  in  all  capital  letters  are  not  as 
easy  to  read  as  capitals  and  lower  case.  All- 
capital  heads  and  subheads  should  be  avoided 
as  far  as  possible.  Note  the  greater  legibility  of 
37  over  36.  And  of  41  over  40. 

Even  the  use  of  capitals  to  begin  each  word  of 
a  display  head  makes  harder  reading  than  if 
lower  case  is  used.  Note  how  much  more  easily 
you  read  39  than  38. 

In  all  my  work  on  the  type  make-up  of  maga- 
zines and  trade  papers  during  the  last  half  dozen 
years,  I  have  not  used  a  single  all-cap  headline. 
The  editors  I  have  worked  for  have  pretty  gen- 
erally agreed  with  me  that  the  headline  in  upper 
and  lower  case  is  not  only  easier  to  read  but  gives 
the  page  a  friendlier,  more  inviting  look. 

I  have  talked  with  many  newspaper  editors 
and  publishers  on  this  same  subject.  They  are  a 
bit  harder  to  convince.  But  in  several  instances 
I  have  succeeded  in  getting  newspapers  to  adopt 
the  upper  and  lower  case  heading  throughout. 


[  58  ] 


!  I- 


GREAT  WINTER  CLEARANCE  OF  APPAREL 

AT  REDUCTIONS  OF  ONE-FIFTH  TO  ONE-HALF 
SUITS.  COATS,  DRESSES.  SKIRTS  FOR  WOMEN.  MISSES  AND  GIRLS 


36  Lines  set  in  all  capital  letters  are  hard  to 
read — therefore  less  effective  than  display 
lines  in  upper  and  lower  case,  as  in  37. 


Great  Winter  Clearance  of  Apparel 

At  Reductions  of  One- fifth  to  One-half 

Suits,  Coats,  Dresses,  Skirts  for  Women,  Misses  and  Girls 


37    Upper  and  lower  case.  Easier  to  read  than  36. 


The  Prices  Are  Very  Much  Lower 

Than  We  Have  Quoted 
During  the  Entire  Fall  and  Winter 


38    Even  the  use  of  capitals  to  begin  each  word 
in  a  display  line  should  be  avoided. 


The  prices  are  very  much  lower 

than  we  have  quoted 
during  the  entire  Fall  and  Winter 


39    See  how  much  faster  you  read  these  display 
lines  than  those  in  the  preceding  example. 

[59] 


I' 
is 
i' 


II- 


Early  Spring  Doran  Books 

"MARSE  HENRY"  Henry  Watterson 

Recollections  of  Men,  Women  and  Events 
during  Eight  Decades  of  American  History 

Henry  Watterson's  memoirs  are  a  flavorsome,  intimate  and  racy  history  of 
American  life.  Two  Volumes,  Boxed.  Octavo.  Illustrated. 

FATHER  DUFFY'S  STORY       c..,^ . •«.. .».«-„       Francis  P.  Duffy 

The  mostTrnnanT  padre's  story  of  the  war.  Here  is  the  whole  history  of  the  famous  Fighting 
69th  Regiment  in  dramatic  form,  set  down  day  by  day,  just  as  things  happened. 

Illustrated.  Octavo. 

THE  VITAL  MESSACE     •«tiMr.iTHtMcwiitvcLATioM.«M.     A.  Conan  Doyle 

An  original  and  startling  discussion  of  the  problem:  "Arc  the  dead  really  dead?"  "When  Conan 
Doyle  speaks  he  must  have  a  hearing  without  even  demanding  it." — New  York  Sun. 


FROM  PLACE  TO  PLACE 


AMtlwr  ••  OLD  JUOCC  mKST,  at*. 


Irvin  S.  Cobb 


America  and  Americans  in  all  phases  of  life  form  the  basis  of  nine  stortes  replete  with  the  humor 
and  delicate  patho..  which  endear  Cobb  to  us  all. 

THE  SOUL  OF  ABRAHAM  LINCOLN  William  E.  Barton 

WitTTTaTe  insight  pr.  Barton  gives  us  a  new  light  on  Lincoln,  a  fascinating  study  of  the  ethical 
and  spiritual  convictions  of  the  Great  President. 

FIFTY  YEARS  IN  THE  ROYAL  NAVY      Admiral  Sir  Percy  Scotl 

Sir  Percy  Scott  tells  not  only  of  his  fiRht  for  the  gunnery  reform  which  saved  the  Grand  Fleet  at 

Jutland,  but  of  a  long  and  picturesque  naval  career. 

SEPTEMBER     a«w  i  iwcruwit.  »ior«  am  Houan.  ^     Frank  Swinnerton 

SEPTEMBER,  although  unlike  "any  other  novel  Mr.  Swinnerton  has  written,  has  all  the  dramatic 
intensity  of  NOCTURNE.  A  tale  of  conflict  in  love  between  two  strongly  contrasted  temperaments. 

UP,  THE  REBELS! 

•JSaS  i;lS;!fSt^  C.  a.  Birmingham 

The  witty  author  of  SPANISH  GOLD  has  woven  a 
rarely  interesting  and  humorous  novel  around  recent 
Sinn  Fein  activities. 

FROM  NOW  ON      Frank  L.  Packard 

The  author  of  JIMMIE  DALE  here  tells  of  a  desperate 
hate  and  a  regenerating  love  in  the  underworld. 

HAPPILY  MARRIED        Corra  Harris 

AiilttM'  al  THt  CIMCUIT  MOCII**  Vrm,  M«. 

A  very  gay  and  amusing  comedy  of  manners  in  which 
the  figures  are  affectionately  and  understandingly  por- 
trayed. 

THE  MASK  John  Coumos 

An  unspoiled  boy  bred  in  Russia's  woods  suddenly  thrust 
into  our  Western  industrial  world  is  the  hero  of  this 
noveL 

THE  PECULIAR  MAJOR 

Keble  Hotoard 

A  peculiarly  diverting  tale  of  the  adventures  of  a  Major 
who  poasessed  the  power  of  invisibility — •  whale  of  • 
trick. 


Other  Notable  Books 


BKOOME  STRCrr  STRAWS 

RobtTt  Corttt  Holliday 

TNC  BOOK  or  A  NATUKALIST 

W.  H.  Hudton 

MINCE  PIC       Chrittophtr  Morky 

A  LOiTCRCR    IN    NEW  ENGLAND 
Httmn  W.  H€ndtTton 

PICPS  AT  PEOPLE 

Rohtt  Corfm  Holliday 

HIS  MAJCSTV'S  WELL  SELOVED 
Barotittt  Orcty 

THE  HERMIT  OF  FAR  END 

Margaret  Fedhr 


JEREMY 
MRS  MARDCN 


Hugh  Walpoh 
Kohmrt  Hiehans 


SONIA  MARRIED 


'flutr  ffo^^ju^^otfns 


Ludendorffs 
Own  Story 

By  Erich  von  Ludendorff 

Written  from  the  sctotl  records  o( 
(be  Germui  general  stafi,  this  is  the 
first  inside  story  oi  the  war  as  Ger- 
many fou(ht  it.  It  will  be  the  most 
(liiriinril  book  ot  the  war  and  the 
hiitoriani  o(  the  future  will  lean 
heavily  upon  it. 
lUusiraitd.    Haps,    a  Mb.     t7.Jo 

Raymond 
Robins' 
Own  Story 

By  William  HAA 

The  stocy  ol  the  man  who  was  there, 
it  is  written  with  a  thrilling  vividness 
by  William  Hard.  Mr.  Robins 
went  to  Russia  (or  the  Red  Cross  in 
the  early  days  o<  Karenslti.  A  dra- 
matic and  thrilling  narrative  o( 
adventure. 
lUtumui.    Crmn  Sw.     fi.ae 

What  Outfit, 
Buddy? 

By  T.  Howard  Kelly 

As  Jimmy  himself  would  say .  "This 
ain't  no  war  book.  It's  just  a  lot  of 
iun  that  happened  to  happen  Over 
There."  If  you  would  lau^h  and 
chuckle,  come  along  with  Jimmy  on 
his  marvellous  A.W.OJ« 

lUatlnlU    fmtm     ti-so 


Michael 
Forth 


By  Mary  Johnston 

This  popular  author  has  written  a 
mystical  novel  oi  Love  and  Immor- 
tality. A  book  that  touches  deeply 
the  thoughts,  desires,  sod  dreams  of 
humanity  today.  ti  go 


A  Year  as  a 
Government 
Agent 

By  Vira  B.  Whitehous* 
Mrs.  Whitehouse  was  the  first  wo. 
man  to  be  honored  with  an  impor* 
tant  and  rather  delicate  mission 
abroad.  The  stor>-  of  the  resource- 
fulness of  this  American  woman 
makes  one  of  the  most  striking  side- 
lights of  the  war. 
lUustrtUd.  Crnm  8m.  Chlk.  $>.;$ 


The 

Psychology  of 
Bolshevism 

By  John  Spargo 

Just  as  Mr.  Spargo's  book  "Bolshe- 
\'ism  "  disclosed  in  sharp  outline  the 
Russian  Bolsheviki,  this  book — a 
companion  volume — lays  bare  the 
reasons  back  of  the  world  pheDom- 
cna  of  unrest. 

PtU  Su>     Cldh.    Si-JJ 

The  Doughboys' 
Religion 

By  Judge  Ben  Lindsey 
•nd  Harvey  O'Higcins 

People  are  asking:  "  Well,  did  the 
war  cleanse  our  souls?  Are  we  all 
regenerated  by  our  baptism  of  fire  r  " 
Here  is  an  answer 

i>M<  Sm.    f  i.>5 

Duds 

By  Henry  C.  Rowlan«2 

"The  wof-rW  is  full  of  duds.  Any  day 
something  terrible  may  happen." 
said  the  good  old  Czech  Baron,  as 
be  sent  o9  Capl.  Plunkett,  U.  S.  A., 
on  his  mission  of  running  down  trad- 
ers in  German  loot.  This  is  Henry 
C  Rowland's  most  spirited  tale. 
»1.7S 


Open  Gates 
to  Russia 

By  Malcolm  V-  Davis 

Not  a  war  book,  but  a  thoroughly 
practical  and  authoritative  book 
about  the  opporttmities  which  Rus- 
sia will  offer  in  her  cooung  period  of 
reconstruction,  written  by  a  man 
who  knows  Russia  and  ber  people. 
lUuslraUd.  Crnm  8m.  CItU.  ts.ao 

Hither  and 
Thither 
in  Germany 

By  William  D—m  HoweUs 

All  the  charm  of  Europe  before  the 
war  lives  in  these  pleasantly  moving 
Pages.  The  Urge  following  which 
take  delight  in  every  book  of  this 
master  hand  will  find  here  a  shrewd 
humor  and  the  firm,  tranquil  style 
they  have  learned  to  love. 
Frntupitct.  Ptsi  8m.   CbO.  %ijoa 

Our  Unseen 
Guest 

Anonymous 

In  this  extraordinary  book  we  have 
an  interesting  example  of  communi- 
cations  purporting  to  come  chiefly 
from  a  youitg  ntan  vho  was  killed 
during  the  World  War — a  pcraoa 
about  whose  existence  then  i>  bo 
question. 

Cmm  8w.    li.oe 

The  Strangers' 
Banquet 

By  Donn  Bym* 

Here  is  the  story  of  Derrith  Keogh, 
the  daughter  of  that  old  Irish  rover 
of  the  green  seas,  3hane  Butler 
Keogh,  and  of  romance  and  love  as  it 
came  to  bcr. 

»I7S 


GEORGE  H.  DORAN  COMPANY 


Publishers 


New  York 


HARPER  &  BROTHERS.    Est  1817 


"I 


40 

The  display  heads  in  Gothic  type  not  only 
repel  by  their  ugliness  but  they  are  harder 
to  read  than  the  display  in  the  Harper 
advertisement  opposite.  (See  page  62.) 

[60] 


There  is  plenty  of  bold  display  here  but  it  is 
good  to  look  at — clear,  plain,  easy  to  read. 
(See  page  62.) 


[61] 


11 


;! 


m 


% 


U 


IH 


3  Display  must  be  good  to  look  at.  The  dis- 
play heads  in  the  Harper  advertisement  (41)  are 
good  to  look  at,  clear,  plain,  easy  to  read.  The 
display  heads  in  theDoran  advertisement  (40)  are 
an  offense  to  the  eye,  besides  being  much  harder 
to  read  than  those  in  41.  The  Gothic  (or  block 
letter)  display  heads  in  40  are  needlessly  black 

and  ugly. 

The  space  used  by  the  heavy  rule  underscoring 
each  head  would  have  been  better  left  white. 

Note  how  much  cleaner  the  heads  look  in  the 
lower  left  hand  panel  where  no  underscoring  has 
been  used. 

There  is  plenty  of  bold  display  in  41,  yet  it  is 
good  to  look  at,  while  40  repels  us  by  its  sheer 
ugliness. 


[62] 


4  Display  must  be  arranged  so  that  its  sense 
is  clear  at  first  glance.  When  a  display  head  is 
so  long  that  it  must  be  split  up  into  two  or  three 
lines,  care  should  be  taken  to  divide  it  according 
to  the  sense.  Readers  pause  slightly  at  the  end 
of  any  line,  about  as  at  a  comma,  therefore  the 
line  should  break  at  the  point  wTiere,  if  read 
aloud,  a  slight  pause  would  occur,  otherwise  the 
meaning  to  be  conveyed  may  be  distorted. 

The  following  lines  are  arranged  without  re- 
gard to  break  by  sense: 


Now  In  Progress— The  Annual  Year 

End  Clearance  Sale  of  Men's  and 

Young  Men's  Clothing 


'  M 


42 


Arranged  like  this,  the  sense  becomes  clearer: 


Now  In  Progress 

The  Annual  Year  End  Clearance  Sale 

of  Men's  and  Young  Men's  Clothing 


43 

[63] 


I  ; 


Another  example  of  confusing  arrangement: 


After-Christmas   Sales  of  Win- 
ter Fashions  Offering  Very 
Pronounced  Values 


44 


The  following  delivers  its  message  more  quickly; 


After-Christmas  Sales 

of  Winter  Fashions 

Offering  Very  Pronoimced  Values 


45 


5  We  must  not  overdo.  All  display  is  no  dis- 
play. Turn  back  to  examples  6  and  8.  Both  of 
these  advertisements  are  over-displayed  to  the 
point  where  they  cause  utter  confusion  to  the 
reader.  In  the  effort  to  make  every  point  tell, 
the  advertisers  have  overstepped  the  mark. 
Nothing  stands  out  clearly.  Compare  the  con- 
fusion of  6  and  8  with  the  common-sense  display 
of  7  and  9. 

[64] 


We  should  be  sparing  in  the  use  of  display  in 
the  body  of  text  matter.  A  word  or  two  in  italic 
here  and  there  (or  if  italic  does  not  give  enough 
emphasis,  then  boldface),  is  about  all  the  dis- 
play that  is  advisable  in  the  body  of  text  matter. 
We  should  let  the  heads  and  subheads  attend  to 
the  display.  That's  what  we  use  them  for. 

We  should  make  the  arrangement  of  words 
place  the  proper  emphasis  on  our  thought.  We 
must  not  expect  type  to  do  it  all.  Look  for  in- 
stance, at  the  hash  that  the  Multigraph  adver- 
tisement (46)  makes  of  its  story  because  of  the 
over-display  of  its  text  matter.  I  feel  sure  that 
this  was  done  deliberately  in  ordfer  to  produce  a 
stunt  piece  of  typography.  Now,  stunts  have 
their  place  as  attention-getters,  but  their  place 
is  not  in  the  type  which  must  make  our  business 
story  clear  and  plain  to  indifferent  readers.  We 
must  avoid  in  our  advertising  whatever  slows  up 
reading  and  hinders  the  quick  delivery  of  the 

message. 

Says  Current  Opinion:  "If  advertising  men 
would  spend  the  time  they  now  waste  trying  to 
construct  type  contortions,  and  would  give  more 

[65] 


^Ybi/'/v  in  the 
SAMEBDA  T 

You're  both  headed  for  the  same  destination— bigger 
and  better  business  through  the  medium  of  printed  matter.  And 

Mr.  Printer  is  held  back  by  your  same  difficulties— 

Raw  materials  way  up,  and  harder  to  get.    Labor 

shortage— ivages  way  up— production  way  down.    The  demand 

for   your   product   soniething    lerrifie   and    every   job    wanted    right 


of  jobs 

he  Multi- 


type 


wanted    right   NOW  t 

You  could  grasp  all  sorts 
of  big  opportunities  you  have 

to  pass  up  now.  You  can  think  of 
doztna  of  live  ((»i>(s  vou  could  pull  ofT,  IF  yoH 
were  turtot  being  »bl«  to  get  your  ideuover 
quick  enough. 

And  you  would  get  your 

regular  stuff  right  on  the  dot— 
factory  and  ofpce  form-s,  stationery, 
price  tickets,  bulletins,  even  your  house 
organ — the  list  is  almost  endless. 

WITH  THE  MULTI- 
GRAPH  yo\i*d  do  it  all  ivithout 

high-priced  nelp,  iiu7AoHt  big  overhead 
and  expensive  equipment.  iriUiout  turning 
your  establishment  into  a  prinlshopand  at  a 
«ii:tN0  o]  iii','u  to  75'lu  in  your  printing  bills. 

Co-operation  is  the  key- 
note of  modei~n,  business.    Start 
pulling  together  with  your  friend,  the 
on  the  road,  that  would  help  them  malce       printer,  NOW.    Investigate  the  possibilities 
bigger  quotas.  of  the  Multigraph  today. 

You  Can't  Buy  a  Multigraph  Vnleaa  You  Need  H 

THE  A.MERK  A.N  Ml'LTIGRAPH  .SALE.S  CO.,  OeTrhad,  Okie 

OMcM  la  Princl^  CiliM 

Tm  nrmmATWNAL  MuinoaAFB  Co.  i  ijn.  ii-it  nu^mn,  iim4mn.  r»iu,  *<aarimMSMCk«Mtaw 

■M  MUlTK*Af1l  SALS*  COi.  IM,  t-t»  tm  ■>•  TinMfc  Cua*.  OSna  to  rifcillll  Cmfcl  OM* 


You're  both  in  the  same 

boat— why  not  ptill  together  in- 
stead of  working  at  cross  purposes. 
Why  don't  you  give  the  printer  a  chance  to 
devote  his  broad  experience  and  big  equip- 
ment to  your  big  work,  while  you  take  a  lot 
of  the  rush  stuff  and  routine  printed  matter 
off  his  hands? 

There  are  scores 
YOU  can  PRINT  on  the . 

grapk — reai  printing  from    reoZ 
with  rtal  printers'  ink. 

You'd  get  your  rush  stuff 

just  when  you  wanted  it,  and  as 
you  wanted  it,  withput  a  minute's 
worry. 

You  could  send  out  sales 

ammunition  at  an  hour's  notice, 

ahead  of,  or  with,  or  behind  the  boys 

ake 


MULT/EHAPff 


Ths  MoMgrarh  p. 

MM  B.  Mh  •!..  CkTtharf,  Okie  """- 

PInw  1*11  «■*  kow  I  can  help  r»» 
Ik*  bssl  witk  tltt  Mukifrafk 


Name. 


Our  line  is 


.Official  Position. 


I 


Street  Address. 


.Town. 


.StsU. 


46 

Type  cannot  deliver  its  message  eflFectively  if 
we  jumble  it  up  in  order  to  do  a  type  stunt 


[66] 


attention  to  the  simplicity  of  the  printed  page, 
they  would  learn  much  about  the  fundamentals 
of  the  fine  art  of  gaining  attention." 

W^  SHOULD  RESIST  THE  TEMPTA- 
TION TO  SET  WHOLE  PARAGRAPHS  IN 
ALL  CAPITAL  LETTERS— LIKE  THIS.  OF 
COURSE,THIS  PARAGRAPH  STANDS  OUT 
ON  THE  PAGE.  GRANTED.  THAT  IS 
WHAT  TEMPTS  US  TO  SET  IT  LIKE  THIS. 
BUT  IT  IS  ENTIRELY  TOO  HARD  TO 
READ  AND  THEREFORE  NOT  GOOD  FOR 
ADVERTISING. 

An  occasional  word  or  even  sentence  in  italic  for 
emphasis  is  not  objectionable,  if  we  dont  overdo. 
But  we  should  avoid  setting  whole  paragraphs  in 
italic.  Even  when  set  with  care,  italic  is  never  as 
easy  to  read  as  roman,  in  which  the  body  of  this 
book  is  set.  The  display  value  of  an  italic  para- 
graph like  this  is  not  great  enough  to  make  up  for 
the  difficulty  of  reading  it. 


[67] 


Ill 

Orderly  Arrangement 

Advertising  typography  must  sustain  interest 
by  orderly  arrangement 


"An  honest  tale  speeds  best,  being  plainly  told." 
Shakespeare:  King  Richard  III 


Iti- 


III 

Orderly  Arrangement 

Advertising  typography  must  sustain  interest 
by  orderly  arrangement 


There  must  be  clearness  and  deftness  in  the 
arrangement  of  our  material  on  the  printed  page 
to  aid  the  quick  and  easy  understanding  of  our 
message. 

The  atlas  advertisement  (47)  asks  us  to  work 
harder  than  we  are  ever  willing  to  do  when  we 
read  advertising.  Instead  of  making  it  easy  for 
us  to  follow  the  story  step  by  step  (as  is  done  in 
48),  we  are  asked  to  pick  up  the  pieces  wherever 
we  may  find  them  in  the  holes  left  by  the  cuts  and 
join  them  together  as  best  we  can.  We  become 
eyesore  and  weary  and  give  it  up  as  a  bad  job. 

The  designer  of  the  International  advertise- 
ment (48)  knew  how  to  sustain  interest  by  or- 
derly arrangement.  No  trouble  at  all  to  follow 
his  story.  A  mere  glance  at  the  page  gives  us 
the  high  spots  at  once  and  we  follow  with  ease 
wherever  he  leads  us. 

[71] 


Revolutionizes  Atlas  Making 

A  new  atlas  that  will  never  be  out-of-date 
An  atlas  that  fit*  your  individual  needs 

THE 

WINSTON  PERPETUAL 

Invisible 

Loose-leaf 

ATLAS  of 
the  WORLD 


LOOKI  LIVI  A  SEOULAK 
■OUMO  BOOK  —  yri  patent 
invisibk  Lonu  •  Lkaf  con- 
Mr  tK  I  ion  m«k««  it  poHtbltt 
to  tn*m  or  take  out  leave* 
without  ch«n|inff  form  of 
vnlum*.  l.nr>«i-LlAP  jrrt  ever jr 
i«-a(  hrM  tisht — «tron|«r  than 
a  rrRular  bound  book.  No 
outkrdc  metal  parta  to  mar  or 
ftcraicb    desk    or    table.       No 


LOOSE-LEAF— It 
can  b«  k«pt  con- 
stantly up-to-dat« 

DOES  NOT 

CROW  OLD 

The    I  at  est    nta[>t.    showiiig 
every    change    in    boundanet 
everywhere,  ■«  eilablwhed  by 
treaties     of     peace     followmi 
the    World    War.       Map*    of 
Canada  uid  itt   Province*;  of 
the   United   Si»t-i  and  tia  48 
State*.     It*     Terrtior.et     and 
Insular     Pos*e*tiunt.     even     radiut    mapi    of 
principal   cilies   arc   t>v'n.      Railroad*  dearly 
marked  in  in  eatra  color,  avoiding  confusion. 
Locales    on     maps     artd    give*    po[iulaiion    of 
57.000     leading     cilir^     of     the    whnle     world. 
1920   V.   S    Crntui  figure*  ii*ed.     irt-U-4«M 
B^Wj   ftlwo*  «|hU-Aftt««becau»e   Loo»e  Leaf 
Krvicr    luppliet    new    map*    when    necr»»ary. 


A  SllirU  OFXSATXOV  TO  HAXI  CHAVOXS  Oft  ADDI- 

TIOMS — leaves    cannot    acailcr    in    making    change*    or    addi- 
liuDB,    alwajr*  held   ^rmly    in  alignment. 

LOOSE-LEAF  SERVICE  op«iu  n«w  usm 
in  hom«  and  businoM 

New  map*  suppttrd  to  replace  old  map*,  or  b'>th  old  and 
new  kept  in  AtUa  to  *how  change*.  IsawrM  Attaa  alwaj* 
k*lM  ■y-to-4mU.  NEW  MAPS  can  l>e  obtainM  lo  rrplaie 
•oiled  or  torn  lupa.  ADDITIONAL  MAPS 
■n  any  Quanlitr  can  be  obtained  of  .Any  coun 
trf  *a)e  or  proviTKre.  Of  great  value  for 
ruuiing  personal  or  basine**  trip*,  defimng 
»«le»  or  di»r*-i6ution  tcrritorr.  planning  new 
busine**  m^vcs 

LOOSE-LEAF— lu  •Utticity 
fits  it  for  •v*ry  us« 

Co«ipUt«.  embrace*  every 
ff(M>d  leMwe  of  any  regslar 
^tUs  and  many  new  feature* 
aol  found  in  other  Atta*'*. 
yiM  tka  a4eaatM«  •i  *1- 
v«]r*  WlRg  >^I*-4«U,  never 
growing  oid  Over  ZiO  pag^ 
Printed  un  apeciAl  map  paper. 
Si<e  toy,  s  14H  in^ 


ATLAS  ADAPTABtX  TO  YOUB  MEEDI— Blank  %heet*  fur 
ni^lied  with  Alia*  can  be  inserted  m  any  reasonable  quanlily 
anywhere  in  the  volume.  Invaluable  for  Ifatmg^,  i-rr^unal 
memo*,  talesmen**  route*,  record  of  phyci- 
cal  depo*ils.  *ource*  of  *upply.  advertUMng 
plans,  etc  .  etc. 


Clatk  WMfat 

Xnft-tMtkar    _ 
IM  tU.M 

■Fith  Struts 


BittJ- 


Sk«w  your   pr»gr««*l*«B««a  by   oulUBf 

eoep«B    today    for    compUta 

daacrlptlT*   lltaratur* 

THE  JOHN  C.  WINSTON  CO. 

UmP  Frimtimf  and  Altai  OrpaflmfHi 

m  WINSTON  miLDINC.  rHIUDEUHl*  J 


m  town  c.  wmsToii  co 

IM  Vlaitn   aiilUlM.   rktu<«lpku 

PUa«c  )«n4,  wilhoiit  otil<ff«ttcn.  dncftp 
liv.  liKralurr  o<  THE  WINSTON  PER- 
PETUAL LOOSELBAF  ATLAS  Of  THt 

woaSD 

N«««       


47 

The  lack  of  orderly  arrangement  in  this  ad- 
vertisement so  befuddles  us  that  we  cannot 
keep  straight  on  it  without  much  diflSculty. 
How  many  lazy  readers  will  trouble  them- 
selves with  it? 

[72] 


The  International  Visible 
Adding  and  Listing  Macliine 

The  International  Visible  Adding  and  LJsting  Machine  is  gaining  national 
preferenc*  through  sheer  merit.  Introduced  5  years  ago  by  the  makers 
of  the  famous  International  Payroll  Machine,  it  is  now  in  use  by 
such  firms  as  The  National  Biscuit  Company,  Fisher  Body  Company, 
Campbell  Soup  Company  and  hundreds  of  others  equally  prominent,  in- 
cluding some  of  the  largest  Banks  and  Trust  Companies  in  America. ' 

There  is  no  secret  about  this  success.  The  reasons  for  International 
superiority  are  definite  and  convincing. 

Why  it  is  better 

Complete  visibility  No  tension  on  springs 


You  ace  every  item  the 
moment  it  ft  printed.  Th« 
■ddJnc  wha«t«  arc  not  only 
visible  but  nr*  placod^in  jiiat 
(he  richt  position  to  bo  CMllr 
rood  by  os>crotor- 


There  {fl  no  tension  on  any 
•princ  wb«n  machine  Is  not 
In  use.  An  ciclusive  Inter- 
national feature  and  one  Mwt 
means  a  lifetime  of  oef^ico 
from  its  eprlnrs.  Spring*  or* 
ih«  Jifcof  an  a<tdln(  machla*. 


Self-correcting  keyboard       Unit  construction 


The  "l!e«ibla,"  automatic 
keyboard  eliminates  the  nine 
column  error  keys  and  tba 
bother  c»f  nslnc  them.  If  a 
wrong  key  Is  depressed,  aim- 
ply  press  th«  correct  one  and 
th«  other  ft  autocna  tic  ally 
nlaaaed.  Only  one  error  key 
Is  required  and  this  clears  the  entire  keyboard 


Quick  total 


chine  from  your 
seconds. 


Built  in  unltg  and  tan  ba 
taken  completely  apart  In  • 
few  minutes.  All  parts  aosily 
and  quickly  accessible.  If  any 
repairs  or  adjustments  are 
necessary,  they  can  be  made 
without  lost  of  valuable  tiirto 
and  without  ramovlng  ma 
office     Keyboard  removed  in  M 


It  la  necessary  to  use  both 
hand*  in  taking  ihetotsi  on  less 
perfected  adding  machines. 
Other  machines  require  an 
extra  apacing  otroke  of  the 
handle.  This  stroke  ia  wasted. 
The  International  Visible  re- 
quires but  one  hand  (the  right 
hand)  and  one  pvll  of  the  handle.  Total  snd  sub- 
total key*  indicated  by  printed  "T"  and  "S."  Total 
or  sub  total  key  locks  down  until  the  pvlllng  of  the 
handle  automatically  rcleaaea  ft. 


Ease  of  operation 


One  hand  operation  leave* 
left  hand  entirely  free  to  turn 
paces,  keep  place  on  work,  etc. 
Control  keys  aee  all  on  rlfht 
hand  side  conveniently  nmr 
handle.  Key  action  is  Just 
rlfht.  Handle  pull  la  cicap- 
lionally  lisht  and  always  unl- 
prefer  the  International     More 


Elearic  drive  models  equipped  with  General  Electnc  Motors.  Split  and 
fraction  machines.  There  are  many  other  interesting  features  about  the 
International  Visible  Adding  and  Listing  Machine  and  a  request  for  fuU 
information  involves  no  obligation.     The  coupon  is  for  your  convenience. 


\ 


Reading,  Pm. 

Mannfacturert  of 
mternational  Payroll  Machines 

Dtstrici  Offices : 
W#w  Vorlijtly.  W.  V.        rtilraco.  III. 


COUPON 


S4 


rhllii«e«|»hla.  Pa. 
Plt(«burch.  Pa. 
C'l»<-lnnail,  Oblo 
Oevt^ABd.  Ohl« 
Uacrolt.  Mioto. 


MlniM-spolla,  Minn. 
H  Aablnctoo,  D.  f  . 
Oi«rlf»MoM,  W.  Va. 
Blweft^ld.  W.  Va. 
Nm>  PraBrlaro.  C'al. 
L4M  AM««4eia.  t:al. 
l>envM-.  caio. 

ll«*aaa.'caba 


Intematiooal  Money  Machine  Co. 
Reading.  Pa. 

Please  send  full  inAtrmation  about  th« 
International  Visible  Addtnc  and  Liattna 
Machine.  I  understand  this  does  not  obli- 
Catc  me  In  mny  way. 

Nam*      ^ 

Addrtas 


48 

This  sustains  Interest  by  orderly  arrange- 
ment. The  advertiser  has  done  all  the  hard 
work  of  making  things  plain,  and  so  has 
made  an  easy  job  for  the  reader. 


[73] 


I' 


Compare  the  orderly  arrangement  of  7  with 
the  confusing  layout  of  6.  The  Shaw  advertise- 
ment (7)  presents  its  message  by  a  clear,  well- 
ordered  plan.  In  the  Heater  advertisement  (6) 
you  are  forced  to  dig  in  a  confused  heap  for  what 
you  want.  One  whets  interest  by  orderly  ar- 
rangement. The  other  dulls  it  by  confusion. 

Again,  contrast  the  orderly  presentation  of 
The  Hartford  Times'  story  in  example  ^  with  the 
bawling  confusion  of  8.  Can  there  be  any  doubt 
that  an  advertisement  which  looks  like  9  will 
have  a  better  chance  to  deliver  its  message 
effectively  than  one  which  looks  like  8? 

Ideas  may  often  be  presented  more  interest- 
ingly and  effectively  in  chart  form  than  in  the 
solid  formation  of  an  unbroken  text  page.  49  is 
a  good  example  of  the  chart  form  of  presentation . 
Note  in  the  first  place  how  you  are  able  to  take 
in  the  general  idea  of  the  whole  presentation  at  a 
glance.  And  again,  how  clear  and  sharp  each 
item  stands  out  so  that  it  cannot  be  overlooked. 

This  method  as  applied  to  a  part  of  an  adver- 
tisement is  shown  in  the  lower  right  hand  panel 
of  7.  This  panel  is  reproduced  actual  size  in  50. 

[74] 


A  Chart  of  Essentials  for  Patriotic  Posters 

The  underlying  point  to  be  borne  in  mind  in  the  creation  of  a  poster  is 
the  object  to  be  accomplished  by  the  poster 


^1 


IDEA 


1  ArtUt's  initial  thought 

thouM  be  nngle,    not  tcattcreil 

clear,      not  vague 

specific,  not  gencrvl 
ihould  be  adaptable  to  (raphic  preMittation. 

2  Artist's -thought  of  effect  his  poster 

will  have  on  others 

He  muit  decide  whether  it  ta  to  appeal  to  every 
one.  or  to  a  certain  class. 

He  must  eliminate  his  personal  impression  as 
Ihoroufhly  as  powble.  and  loolr  at  his  paster 
with  the  eye  of  the  public. 

3  The  intended  appeal 

Must  poesess :     1  Attraction 

2  Suggestion 
(preferably  speciflc) 

3  Memory  value 
Must  appeal  to  the  emotions  rather  than 
to  the  intellect. 

The  artist  should  have  dearly  in  mind  the  kind 
of  appciJ  for  which  his  poster  is  keyed. 


For  example — stimulation,  warning,  fear,  sta- 
tistical facts,  economy,  sympathy,  etc.  (See  chart 
in    "The   Battle    in    this  Country,"   issued    by 
National  Committee  of  Patriotic  Societies.) 
He  should  select  the  most  important  one  of  these 

4  Choice  of  subject 

Careful  consideration  o,'  the  above  points  will 
largely  direct  choice  of  subject,  and  will  make 
the  choice  logical  instead  of  random.  The  poster 
will  be  consistent  instead  of  self -contradictory  or 
confusing. 

5  Wording 

Careful  thought  should  be  given  to  this,  because 
design  and  legend  should  be  complementary. 
The  drawing  should  illustrate  the  legend  and 
the  legend  should  supplement  the  drawing. 

Wording  should  have 
I  Attraction  value 
I  Absolute  relevancy 

3  Suggestion  or  advertising  value 

4  Memory  value,  through  brevity 


EXECUTION 


1  Design 

1  The  artist  mutt  be  familiar  with,  or  learn, 

the  curatials  of  poster  design. 
t  He    must    work     with     breadth,     atrencth. 

surety,  force  axKl  unity. 

3  He  must  dulv  consider  the  tixe.  or  iifci  at. 

which  the  Jesifn  is  to  bfc  reproduced. 

4  He    must    duly    consider    the     mechanical 


4  Colors 


S  He  must  keep  in  mind  the  specific  nature  cf 
his  problem,  whether  it  be  a  poster,  a  Cir 
card,  a  wuidow  card,  or  other  u»e«. 

2  Technique 

The  artist  will  do  well,  here,  to  adapt  the  tech. 
nique  in  which  he  is  most  proficient,  protridr.d 
this  be  suiuble  for  the  renderinc  of  a  poster. 
Proficieocy  mcaiu  mircty,  asad  surety  meant 
ttrcnfth. 

3  Medium 

The  note  under  "Technique"  ar-plKt  alto  to 
medium,  as  water  color,  tempera,  jil.  charcoal, 
pastel,  or  lithofrapher's  pencil. 


The  artist   should   five  preference  to  Strong, 
clean-cut  color  values  which  will  attract  at  well 
as  carry  at  long  range. 
Mcc^ianical  reproduction  should  be  kept  in'mind. 


5  Lettering 


Above  all.  lettering  must  be  legible.  It  should 
alto  be  in  scale  with  the  design  as  a  whole, 
and  an  integral  part  of  it.  Its  placement  is  most 
important.  Legibility  is  aided  by  a  sharp  color 
contrast  between  lettering  and  background.  Let- 
tering is  best  contrived  when  it  falls  upon  a 
clear,  unbroken  background. 


6  Mechanical  Reproduction 


The  artist  should  be  reasonably  familiar  with 
the  technical  possibilities  of  lithograi^s,  process 
plates  and  flat  blocks  of  metal  or  wood,  and 
should  avoid  renderings  which  would  be  unduly 
difficult  to  reproduce. 

The  question  of  cost  of  production  bere  comes 
into  the  artist's  province. 


49 

Orderly  presentation  of  ideas  in  chart  form. 
You  are  able  to  take  in  the  page  at  a  glance, 
and  no  item  is  apt  to  be  overlooked. 


[75] 


I  '^1 


I 


ft 


Quick  Answers  to  Your 
Difficult  Problems 


How  to  tell  by  mail 

— how  to  inject  personality 

into  a  letter 
— how  to  gather  and  classify 

material 
—how  to  pick  out  talking 

points 
— how   to  develop  eGFective 

persuasion 
— how  to  appeal  to  different 

classes— men,     women, 

farmers,  etc. 
— how    to   make   the   letter 

"standout" 

How  to  oondact  ■  foIlow«up 

— how  to  use  different  kinds 

o!  follow-up 
— how  to  handle  arguments 

in  the  follow-up 
— how  to  find  new  angles  for 

approaching  prospect 
— how  to  vary  appearance  of 

letters 
— how  to  conhect  the  product 

with  prospect's  needs 

How  to  make  ap  liata 

— how   to   compile   lists    of 

prospects 
— how  to  keep  mailing  list 

up  to  date 
— how  to  put  key  marks  on 

letters  and  check  returns 
— how  to  test  lists  of  names 
— how    to  be  sure   mailings 

average  up  to  tests 


How  to  c*<  busineM  from 
special  lista 

— how  to  appeal  to  prospect's 
judgment 

—how  to  cooperate  in  con- 
sumer campaign 

— how  to  avoid  negative 
appeals 

— how  toovercome  customer's 
mistrust 

—how  to  play  up  distinguish- 
ing features  of  your  goods 


How  to  collect  mooejr 
by  mail 

— how  to  bring  the  "trick- 
ster" to  time 

— how  to  write  a  series  of 
collection  letters 

—how    to    urce    the    "slow 
pay  "  to  settle  promptly 

— how   to  collect   petty   ac- 
counts 

— how  to  collect  mercantile 
accounts 

— how   to  make  instalment 
collections 

How  to  organize 
correapondeoce  work 

— how  to  put  ofhce  mail  on 

schedule 
—how  to  give  every  letter 

the  right  answer 
— how  to  bring  office  force  up 

to  standard 
— how  to  develop  competent 

correspondents 

How  to  tarn  complaint* 
into  buainesa 

— how    to    form    complaint 

policy 
—how  to  keep  customers  in 

friendly  mood 
— how   to  reestablish    good 

will 
— how   to  systematize   com- 

elaint  department 
ow   to  hold  down  com- 
plaints 

How  to  handle  routine 
correspondence 

— how  to  save  time,  money 
and^  effort  through  auto- 
matic dictation  methods 

—how  to  acknowledge  orders 
with  standard  paragraphs 

—how  to  close  sales  with 
standard  paragraphs 

—how  to  fit  form  letters  into 
collection  work 


50    This  method  of  listing  selling  points  makes  them  vivid 


[76] 


Orderly  arrangement  in  cataloging.  By  cata- 
loging I  mean  not  only  the  price  lists,  specifica- 
tions and  so  on,  that  make  up  the  regulation 
catalog  or  price  list,  but  also  any  form  of  listing 
or  tabulation  of  items.  I  would  call  49  and  50  a 
form  of  cataloging. 

Cataloging  or  listing  is  well  arranged  in  pro- 
portion to  the  quickness  and  ease  with  which  it 
gives  up  its  store  of  information.  By  clear  and 
orderly  arrangement  we  must  enable  the  reader 
to  get  at  a  glance  the  information  he  wants. 

Note  how  clearly  the  important  features  of 
Vandyke  Solar  Paper  are  brought  out  in  51  and 
how  hard  you  have  to  dig  for  them  in  52.  For  the 
better  success  of  our  advertising  we  must  do  all 
the  hard  work  of  making  things  plain  to  the 
reader.  The  less  effort  we  require  of  him  the 
more  chance  we  have  of  getting  our  advertising 
read  and  remembered. 

53  is  a  good  example  of  clear  arrangement  in  a 
price  list. 

A  house  selling  fine  printing  papers  asked  me 
to  say  my  say  about  the  typography  of  their 
specimen  sheets. 

[77] 


I 


,1- 

!l 


VANDYKE  Solar  Paper 

For  its  distinctness  of  outline,clearness 
of  copy,  and  permanency  of  results  it 
is  unsurpassed,  besides  possessing  all 
the  following  essential  qualities : 

1  Is  easily  manipulated 

2  Keeps  exceedingly  well 

3  Does  not  become  brittle 

4  Prints  rapidly 

5  Saves  original  tracing 

The  Vandyke  Solar  Paper  was  first  in- 
troduced and  perfected  by  us.  Though 
several  imitations  have  appeared  upon 
the  market,  it  still  retains  its  title  to 
being  the  leading  paper  of  its  kind. 


51    Every  point  stands  out  clearly 


VANDYKE  Solar  Paper 

For  its  distinctness  of  outline,cleamess 
of  copy,and  permanency  of  results  it  is 
unsurpassed,  besides  possessing  all  the 
following  essential  qualities:  (1)  Is 
easily  manipulated ;  (2)  Keeps  exceed- 
ingly well;  (3)  Does  not  become  brit- 
tle; (4)  Prints  rapidly ;  ( 5 )  Saves  orig- 
inal tracing.  The  Vandyke  Solar  Paper 
was  first  introduced  and  perfected  by 
us.  Though  several  imitations  have  ap- 
peared upon  the  market,  it  still  retains 
its  title  to  being  the  leading  paper  of 
its  kind. 


52    Here  you  must  dig  for  your  information . 
This  is  far  too  common  practice. 

[78] 


I  admired  them  for  their  good  design  and  beau- 
tiful printing.  And  I  criticised  them  for  their  lack 
of  attention  to  the  convenience  of  the  reader. 

"Suppose,"  I  said,  "in  the  middle  of  a  busy 
morning  I  get  a  telephone  call  from  my  printer. 
He  is  not  quite  clear  about  some  one  point  of 
my  paper  specification.  He  needs  a  prompt  deci- 
sion. I  ask  him  to  wait  while  I  get  the  paper 
specimen  sheet  that  is  supposed  to  contain  all 
the  information  I  need. 

"And  what  do  I  find.?^ 

"A  neat  tabulation  of  all  the  facts  about  sizes, 
weights  and  colors  so  simply  and  clearly  ar- 
ranged that  a  quick  glance  will  enable  me  to 
answer  my  printer's  queries  in  a  jiffy? 

"No.  As  my  eye  roves  over  this  sheet  seeking 
light,  it  is  puzzled  by  rows  upon  rows  of  beauti- 
fully composed  capital  letters — a  veritable  tri- 
umph of  good  spacing  and  'squaring  up.' 

"But  where  is  the  information  I  must  have 
quickly  while  my  printer  hangs  on  to  his  end  of 
the  telephone.^  It's  all  there,  to  be  sure,  if  I  will 
just  have  a  little  patience  and  painfully  dig  it  out 
of  that  beautifully  composed  block  of  capitals. 

[79] 


!i 


I' 


Blanks,  Blank  Business  Forms 
and  School  Currency 

For  use  with  Moore  and  Miner's 
"Accoiinting  and  Business  Practice" 

BLANKS  to  accompany  Text-book 
Part  I        Introductory 
Two  blanks  (Nos.  1  and  2)  prepared  for 
Sets  I,  II,  III,  and  IV  of  the  text-book, 

^  20  cents 

Part  II  Intermediate 
A  series  of  three  sets  of  blanks  (prepared 
for  Sets  V,  VI,  and  VII  of  the  text-book) 
for  the  Jobbing  Furniture  Business,  the 
Wholesale  Grocery  Business,  and  the  Dry 
Goods  Business,  25  cents 

Jobbing  Furniture  Business 

Three  blanks  (Nos.  1,2,  and  3)  prepared 

for  Set  V  of  the  text-book. 

Blatik  No.  1  contains  20  pages,  ruled  for 

Journal,   Sales   Book,   Cash   Book,  Bill 

Book,  Trial  Balances,  and  Statements. 

Blank  No.  2  contains  16  pages,  ruled  for 
Ledger. 

Blank  No.  3  contains  4  pages,  ruled  for 
Invoice  Book. 

Part  III    Advanced 
A  series  of  three  sets  of  blanks— single  en- 
try, manufacturing,  and  banking. 


53 

Orderly  arrangement  in  a  price  list 


[80] 


"You  see  you  weren't  considering  my  con- 
venience at  all.  You  did  not  have  in  mind  that 
when  I  have  to  look  up  something  in  a  hurry  I 
want  plain  facts,  plainly  arranged  in  plain  type, 
and  that  a  typographic  stunt  at  such  a  time  only 
wastes  my  time  and  patience." 

When  we  are  making  catalogs,  price  lists  or 
preparing  any  other  reference  material  that  is  to 
be  filed  away  and  consulted  again  and  again ,  let 
us  forget  entirely  the  most  favorable  conditions 
under  which  such  consultation  will  take  place 
and  keep  in  mind  only  the  worst  possible  condi- 
tions, such  as  hurry,  impatience,  lack  of  interest, 
poor  light,  telephoning. 

I  was  talking  to  a  collector  of  books  who  re- 
ceives in  the  course  of  a  year  many  booksellers' 
catalogs. 

"I  want  to  keep  in  touch  with  what  is  in  the 
market,"  he  said,  "so  I  look  over  a  good  many 
of  these  catalogs.  I  haven't  much  time,  however, 
so  I  have  learned  to  give  attention  only  to  those 
catalogs  which  consider  my  convenience.  The 
others  are  not  even  taken  out  of  their  wrappers. 
They  make  me  work  too  hard. 

[81] 


I 


J 


: 


'I'f 


"Now  look  at  this  one.  I  would  call  this  a 
good  catalog  from  my  point  of  view.  My  eyes 
are  not  as  good  as  they  were.  I  can't  afford  to 
waste  them  on  small,  poor  print.  This  type  is 
easy  to  read.  As  I  glance  down  the  page  certain 
clue-words  in  bold  type  leap  to  the  eye  and  tell 
me  at  once  whether  or  not  I  will  be  interested  in 
that  item.  The  price  stands  out.  Then  if  my 
attention  is  captured,  I  find  that  the  detailed 
information  is  easy  to  get  at. 

"I  can  look  through  a  half  dozen  such  cata- 
logs and  get  what  I  want  from  them  in  the  same 
time  that  it  would  take  me  to  wade  through  one 
of  the  others  that  I  never  look  at  any  more." 

Consider  for  a  moment  the  woes  of  a  man  who 
has  to  consult  many  catalogs  for  business  in- 
formation. His  desk  may  be  placed  in  a  dark 
corner  of  the  room.  Day  after  day  he  has  to  pore 
over  prices  and  specifications  printed  in  tiny, 
lightface  type,  very  often  on  over-shiny  paper. 
Does  that  add  to  his  good-will  towards  the  cata- 
log-maker? Hardly. 

We  pay  entirely  too  little  attention  to  the  kind 
of  figures  we  use  in  our  catalogs  and  price  lists. 

[82] 


They  are  mostly  too  small  and  too  weak.  Figures 
should  be  unmistakable  at  a  quick  glance.  That 
is  a  prime  requisite. 

I  realize  that  a  lot  of  figures  must  often  be 
crowded  into  a  limited  space,  but  even  with  that 
handicap  much  can  be  done  if  we  will  only  study 
the  matter  carefully. 

Recently  I  had  the  problem  of  arranging  a  lot 
of  tables  for  an  insurance  book.  I  had  a  small 
page  and  a  lot  of  figures.  It  worried  me  a  good 
deal  for  a  while,  but  finally  after  much  searching 
I  found  a  six  point  figure  with  the  clearest, 
strongest  face  I  had  ever  seen  in  that  size.  And 
my  tables  could  be  read  with  speed  and  cer- 
tainty despite  their  six  point  face.  I  was  prouder 
of  those  tables  than  of  many  elaborate  pieces  of 
typography  I  had  engineered. 

In  another  catalog  I  happened  to  be  working 
on,  I  let  every  other  consideration  slide  until  I 
had  found  good  fractions  for  the  specification 
figures.  The  catalog  was  literally  stuffed  to  the 
hilt  with  fractional  figures  and  those  that  had 
previously  been  used  were  very  poor  indeed — 
weak,  thin  little  figures  and  so  small  that  it 

[83] 


* 


Irf 


\i 


5f 
p 

Wf 


I 

% 

m 


% 


required  a  very  good  pair  of  eyes  indeed,  to  read 
them. 

To  me,  the  use  of  better  fractional  figures  was 
the  most  important  item  in  the  entire  catalog.  The 
client  was  rather  more  interested  in  the  pictures, 
the  decoration  and  the  selection  of  an  unusual 
typeface. 

The  following  is  a  quotation  from  an  address 
I  made  before  an  advertising  convention: 

"The  man  who  designs  advertising  print 
should  ask  himself  this:  *What  must  this  piece  of 
advertising  do.^  How  can  I  make  type  do  its 
most  effective  work  in  helping  the  reader  to  a 
quick  understanding  of  the  advertising  story? 
How  can  I  make  it  easy  and  still  easier  for  him?' 
And  if  the  designer  attacks  his  job  in  this  spirit, 
even  though  his  skill  is  not  great,  he  will  go 
farther  toward  making  good  advertising  than  the 
man  who  is  concerned  merely  with  producing  the 
fuss  and  feathers  miscalled  'artistic  printing.' " 


IV 

Easy  to  read 

Advertising  typography  must  grip  attention 
by  being  supremely  easy  to  read 


'Write  the  vision,  and  make  it  plain  upon  tables, 

that  he  may  run  that  readeth  it/* 

Habakkuk 


[84] 


i 


IV 

Easy  to  read 

Advertising  typography  must  grip  attention 
by  being  supremely  easy  to  read 

"All  reading  demands  an  effort,"  says  Sir  Arthur 
Quiller-Couch.  "The  energy,  the  good- will  which 
a  reader  brings  to  the  book  is,  and  must  be, 
partly  expended  in  the  labor  of  reading,  mark- 
ing, learning,  inwardly  digesting  what  the  author 
means.  The  more  difficulties,  then,  we  authors 
obtrude  on  him  by  obscure  or  careless  writing, 
the  more  we  blunt  the  edge  of  his  attention;  so 
that  if  only  in  our  own  interest — though  I  had 
rather  keep  it  on  the  ground  of  courtesy — we 
should  study  to  anticipate  his  comfort." 

All  that  is  needed  to  turn  the  foregoing  into  a 
fine  little  sermon  on  "easy-to-read,"  is  to  change 
the  word  "writing"  to  "typography." 

"Typography's  big  service  to  advertising," 
says  Roy  Durstine,"is  in  making  advertisements 
easy  to  read — by  the  choice  of  type,  by  proper 
spacing  between  words  and  lines,  and  by  using 

[87] 


'a 


i 


h 


't'i. 


the  right  size  of  type  for  the  eye  to  follow  with 
comfort  and  pleasure  along  a  line  of  any  given 
length." 

In  this  section  we  will  discuss: 

1  The  face  of  type. 

2  The  size  of  type. 

3  The  length  of  line. 

4  Space  between  lines  (leading) . 


[88] 


The  face  of  type 


All  that  I  believe  in  as  constituting  good  typog- 
raphy rests  on  and  flowers  from  one  principle: 
readableness,  "easy -to-read."  I  do  not  believe 
that  printers'  type  has  any  such  thing  as  in- 
trinsic beauty. 

ABC 

For  instance,  here  are  A,  B  and  C  in  plain 
type.  They  have  no  beauty  of  line. 

Of  course,  an  artist  by  hand -lettering  may 
add  many  scrolls,  whorls  and  arabesques  to  an 
A,  a  B,  or  a  C  (as  in  54) — beautiful,  but  not 
type  beauty. 


54 


Consequently,  type  is  nothing  at  all  when  it 
is  not  easy  to  read.  It  is  all  it  possibly  can  be 
when  it  is  easy  to  read. 

[89] 


;TH 


V9 


lii^JAENECKE 

PRINTING   INK  CO 


No  factory  anywhere  Is 
better  equipped  than  ours 
for  the  making  of  printing 
lnl(s  to  meet  ali  require- 
ments. We  are  not  middle- 
men but  manufacturers 
from  the  raw  material  of  dry 
colors,  varnishes  and  other 
necessary  ingredients,  and 
the  successful  experience 
of  three-quarters  of  a  cen- 
tury is  behind  us. 

Branch  Offices  in 

N«w  York  Baltimore  Chicago 

New  Orlearts  Detroit 

And  From  Jobbers  Everywhere 


iiiniiimiHiiiiniinimiiniiiinininiiininiifflmiiniiiwniiiiiiiin^ 


:  FINE  PRINTING  &LITHOGRAPHICINKS 
NEWARK,  N.J. 


55 
The  Gothic  (or  block  letter)  type  in  this 
advertisement,  while  it  has  a  simpler  out- 
line than  the  type  in  56  opposite,  yet  reads 
more  slowly  because  we  are  not  used  to  it. 


[90] 


gi 


Play  Safe 


yy 


"If  a  plate  fails  half  way  through 
a  run  the  loss  to  the  printer  may 
be  a  very  serious  matter.  This  is 
true  whether  the  printer  or  his 
customer  furnishes  the  electro- 
types."—  Ben  Franklin  Monthly, 

To  avoid  the  possibility  of  any 
such  serious  loss  be  sure  that  the 
shells  of  the  electrotypes  you  put 
on  your  presses  are  the  proper 
thickness  —  in  other  words  let  us 
make  the  plates. 

DINSE,  PAGE  ^  CO. 

Electrotypes,  Nickellypes  and  Stereotypes 

725-733  South  La  Salle  Street,  Chicago 
Telephone  Harrison  7185 


IIUUUUUUUUIUIUUUUIUI 


56 

We  read  this  faster  than  the  type  in  55  be- 
cause we  have  had  such  an  infinity  of  prac- 
tice in  reading  this  roman  type  that  our 
eyes  and  brains  recognize  the  characters 
instantaneously . 

[91] 


lOiiiiniR 


It  u 


I 


I 


f? 


;'i 


V: 


Types  are  symbols  of  the  spoken  word,  sub- 
stitutes for  it.  They  can't  be  anything  more, 
and  it  is  nonsense  to  think  of  them  as  anything 
else,  except  that  now  and  then  light  type  is 
appropriate  for  advertising  light  articles  and 
coarse  black  type  for  heavy  goods. 

Why  is  some  type  easy  to  read  and  some  not? 
Why  are  the  lower  case  letters  in  roman  the, 
easiest  of  all  to  read.^     Is  it  because  they  have 
a  very  simple  outline.'^  No,  because  Gothic  has  a 
simpler  outline,  yet  reads  more  slowly. 

ABCDEFGHabcdefgh 

Gothic 

ABCDEFGHIJabcdefghij 

Caslon 

(Compare  for  readability  the  Gothic  type  in  55 
with  the  Roman  type  in  56.) 

Roman  lower  case  is  easiest  to  read  solely  be- 
cause from  our  childhood  we  actually  have  read 
very  much  more  roman  lower  case  than  anything 
else.  At  school  the  first  thing  we  had  drilled  into 
our  bright,  tender  brains  was  the  roman  lower 
case  of  the  Primer  and  the  First  Reader. 

[92] 


stile 

The  pig  came  to  a  stile. 

The  old  woman  said, 
"Pig,  pig,  get  over  the  stile." 

The  pig  said, 

"1  won't  get  over  the  stile.'' 
And  he  ran  away. 

He  ran  away 

from  the  old  woman. 

27 


The  roman  lower  case  in  this  Primer  and 
First  Reader  is  the  most  familiar  and 
friendly  type  to  us  because  ever  since  our 
school  days  we  have  read  more  of  it  than  of 
any  other  kind  of  type. 


[93] 


\\. 


NORTH  WIND  SINKS  A  SHIP 


ss 


men  and  women  in  it  f    How  dreadful!    Stilll  can- 
not believe  you  are  cruel,  North  Wind  I" 

"No,  I  could  not  be  cruel,  and  yet  I  must  often 
do  what  looks  cruel  to  those  who  do  not  know.  But 
the  people  they  say  I  drown,  I  only  carry  away  to  the 
back  of  the  north  wind— only  I  never  saw  the  place." 

"But  how  can  you  carry  them  there  if  you  never 
saw  the  placet  And  how  is  it  that  you  never  saw  it!" 

"Because  it  is  behind  me.  You  cannot  see  youi- 
own  back,  you  know.  But  run  along  now  if  you 
want  to  go  with  me  to-night.  I  cannot  take  you  till 
you  have  been  to  bed  and  gone  to  sleep.  Ill  look 
about  and  do  something  till  you  are  ready.  Do  you 
see  that  man  over  there  on  the  river  in  the  boat  who 
is  just  floating  about?   Now  watch !" 

She  flashed  like  a  dragon-fly  across  the  water 
whose  surface  rippled  and  puckered  as  she  passed. 
The  next  moment,  the  man  in  the  boat  glanced  about 
him  and  bent  to  his  oars.  The  boat  flew  over  the 
rippling  water.  The  same  instant  almost.  North 
Wind  perched  again  upon  the  river  wall. 

"How  did  you  do  that?  "  asked  Diamond. 

"I  just  blew  in  his  face  and  blew  the  mist  out 

of  him." 

"But  what  for?  I  don't  understand!"  said  Dia- 
mond.   Hearing  no  answer,  he  looked  down  at  the 


When  we  began  to  read  stories  it  was  the 
impression  of  this  kind  of  page  which  was 
burnt  into  our  minds — still  the  familiar 
roman  lower  case  of  our  school  books. 


[94] 


. 


Later,  when  we  read  stories,  the  overwhelming 
bulk  of  the  page  was  roman  lower  case. 

Still  later,  when  we  became  newspaper  read- 
ers, the  same  type  formed  our  daily  food.  Pretty 
nearly  the  only  reason  why  roman  lower  case 
to  us  reads  almost  without  effort  is  that  we 
have  had  such  an  infinity  of  practice  on  it  that 
our  eyes  and  brains  recognize  the  characters  in- 
stantaneously. 

If  we  had  been  brought  up  from  childhood  on 
some  other  type,  say  the  German  letter,  I  do 
not  doubt  that  the  German  type  would  be  the 
easiest  for  us  to  read.  57  is  a  sample  of  English 
in  German  type. 

"When  the  eye  regards  an  unfamiliar  object 
an  error  of  refraction  is  always  produced,"  says 
Dr.  W.  H.  Bates  in  his  'Perfect  Sight  without 
Glasses.'  "Children  with  normal  eyes  who  can 
read  perfectly  small  letters  a  quarter  of  an  inch 
high  at  ten  feet  always  have  trouble  in  reading 
strange  writing  on  the  blackboard,  although  the 
letters  may  be  two  inches  high.  If  a  German 
child  attempts  to  read  Roman  print  it  will  at 
once  become  temporarily  hypermetropic.  Ger- 

[95] 


i""', 


i 


■    h'' 


Afternoon 

Edition 
The  Wralher 

Fair  toHH^  aaJ  li  ■oii»w 


|^torl|orl 


PoufNDED  1801— Vol.  121,  No.  20 


L«iun  or  rac  Msnciino  rcaa*. 


FRIDAY, 


Irish  Question  No 
Longer  Factor  in 
American  Politics 


Its  Elimination  Seen  as  Aid 

To    Senator     Lodge's 

W22  Campaign 


Redprocity  With  Ccnada  Fore- 

C4*t  m  Washington  at  Result 

Of  Donunion's  Vole 


By  Msrk  Sullivan 

Sr»     lort    Loams    Tvil 


1^    (b< 


W*«tti«OToM.  Drrrmhrr  9  — H'hcr*  la 
r*l  a  poa#^-tan  in  Wavhtncum  who 
4of  not  fv^*t«nlM»  th>tt  ein  rlei^tion* 
iwKt  y««r.  and  our  dotn^Mtk  pollltcs  In 
(t*ry  ■riwe  arr  ad'^tnl  i>v  liw  Irlah 
ulUafiwnt  Jtlmoat  a«  mitcli  as  «ro 
brntoh  poli<<c».  To  put  li  more  acru' 
laiel;.  AmcrKan  poiiiira  ar*  r^licvfd 
or  Ml  emtMtrraaMns  but  potml  factur. 

S|i«cinr«llv,  atnonic  oihT  Ihlnfis.  It 
li<k  m  (act  Ihttt  oppoailion  to  ^'^ruitor 
l<odKC  in  Miaaof  ii^tiH  wa«  pt-innrrt 
tm  iwxt  >»di  by  t>«ft«  tth«K>(.  attitud* 
Mil  .xf.i^'i  t<*aii  ij^aiic*  iwii  u»'M  liffv<-tfKl 
iij  the-  pwat  by  ii«c  litfh  <|i»*'«wn.  Just 
VI  hy  tbt«  «us  lo  li-i>i-  W-t-n  i->  not 
»<ai  Ailr3'i*n«.ir  iw  tiK-  L'vnKiritiiii 
i^ntlr.  ttatl.ilon.1^  with  ihr  IrKth  In 
>Ui«rdchuM(TiU.  *»j*  rf»»%ph*ifiy  i* 
^mk-d  l»^l  >«'.tr  b>  Ihr  fact  thul  lb*- 
l»moriaift  l.i\ui-«cl  Hw  LrustH'  «'  N.»- 
t  Kin'.  Hut  M  «%a«  I  hi*  tua  n  of  xunx- 
H'.i(kis  of  that  iiiv%ciiiriii  to  tHkr  ihv 
ttH>;  l«-  k  Iw  tl'-;  UriiKKT^Ik:  |>ui.> 
■Kkl  ><>ar  • 

Thai  awl  cf  thlriit  t»  n«w  P*^  **i  r 
«rrtr-4  RtJiny  hitt>>n  ii>.il  M^d  totnc  Ht^i> 
•  ii4  Cimilic-(»M»n.il  rl«.ll"n^  tt  Ap»ciu-i 
I'-i^c  iK-  n  um.t'i  .'*  (I  i(-iM*<*I  v^ii  lasu*  v 
lh.»t  jtiMw-  III  I:  mntl  rfniurv>f«  ••a* 
lltvir  i»  t  t-i*»y  tiM  I.  ilDiT  of  wht  II 
n\«  <1«>H  ngo  »ut,'ltl  h  •>'(-  btrn  ^n  !<■- 
u-riwiioiiu)  lniiHi>(  II' i« .  tnn  i^!-  h-irm- 
h-.-j*  to-4biy    in  Its   i.»'.t.  p;Mv  of  pn-* 

<  Nt    h*4tDi>.       TlK"    aluiv     l«    k.ll-4.    hiM 

tbt  poini  of  tt  I'i  >h..[  i;.jos>'vrli.  rfiori- 
ly  belmc  h-  JM.t.  tuh;  .1  TrH-n:!  ttiat 
(»  hr  ahjuhi  I  »rr  iinatn  br  l^vaMant 
If  would  •  utirldpr  It  on*  M  hH  rtort 
^raslns  dutirs  lo  trtl  (.irr«£  ^jnialn 
IhJt  tlH'  Irtii'i  qucatlon.  tK-<uii;n-  tif  Ma 
4on*,t<int  *-tr  l.s  on  out  tti-i-^rntM-  poll- 
tn.%,  waa  on*  of  nhkrli  m  !i' d  a  ngln 
«i»  Uk*  tioitre.  It  w.ta  Mr.  Room* 
v«|l'a    inicntion    ta   kvtp    wiMi'ii    (U« 


SINN  FEIN  SPLIT  NOT 
LIKELY  TO  DEFEAT 
IRISH  AGREEMENT 


Questions  Raised  by 
De  Valcra  s  Veto 


British     Parliament     Will 
Meet  as  Planned 


Brief  Adioummcnt  Will  Be  Taken 

To  Await  Action  of  Dail 

Eireaan 


tton  o(  ¥■■■■  «•  Valam  •(  tha  «ar«*- 
maaC  raachad  boiw«««  ika  Britlak  aad 
tnah  ptonlpoiantlartca  for  ih«  aata^ 
Itahmrnt  of  ilM  Irtah  Fraa  SUta  and 
the  reaultant  kplit  in  Iha  D«JI  Elrv^^a 
Cabinet  have  overshadowed  all  othor 
di-vciopments  af  the  aituatlon  Tbt 
receipt  oi  thia  n««a  tmmedtatcly  raw- 
ed two  iniportani  «ueattona: 

What  will  ba  iha  outcome  of  tba 
diviMion  mmtms  *ha  Irlah  leadtra  aa 
afTecima  tha  dacialaa  of  tha  Dail 
i:,ii-eann  upon  tha  a«ra<imnt ' 

What  effect  wm  ihe  »iiuaUMl  tm 
South  Ireland  have  upon  ih«  BrltWi 
(iovornmenta  niiitudr  and  tha  •PM* 
nc  of  the  lmpvri.li  Parliament  AN- 
conaklrratton  of  \y.v  agreement* 

Tile  beai  opinhMi  «  that  the  aplil 
rirnung  tlw-  Iiwil  k-jdrra  wiN  not  aArct 
th<>  fiMina  for  th«  o»aiiln<  «f  marllft* 
ment  Th«  agraaiant  %»■  mtdt  te- 
iwf en  ihp  Hiitwh  Owwnwnewt  and 
ptenipotentlaiien  reprvarntlns  |ha 
I>Mil  i:iir.tnn  and  II  will  ba  plirid 
beIon»  theHouae  of  Commona  Mtf  tk« 
HoHae  of  txn^  aa  auch  agrcaiaat  A 
the   Klna^a  apaoch. 

Then,  aftor  Pnmo  MInlstar  Uav< 
G«-orge  In  the  Ijawer  Moiiaa  ant  l«r4 
Blrfc«nha*d  la  tha  Uppvr  Ckami^m 
hav*    rxpteiaaa   mmtk 


YouBt  Arctic  Ekplorcr 
Four  Yean  With  Esqiunaux 


aurvLt,  Wa«h.,  Dtcambar  •  — 
HaraM  «.  Nolca.  who  laft  b*«  at 
tha  aaa  of  atstaan  in  itlS  to  tmn 
tup  atafanaaan  Arctic  vKpadltloa. 
ramalntnc  in  tha  North  wtth  iha 
B»«ulmsn>.  rvtumad  to  bla  homa 
her*  lO'^ty  aboard  tha  Coaat  Quard 
ruttar  UnaJaa.  Notce.  cradHed  with 
hatag  aaa  af  tlia  row  age  ai  oxplarara 
I  ai  uriaM.  AM  fi«t  aaa  a  whlia  imm 
for  taw  yaara.  Ha  aatd  he  haa 
laamad  the  native  lanituaitea  and 
plannad  pubiUh  a  compiiatian  of 
them 

G)pper  Stocb 
G)ntinue  Strong 

Market  as  a  Whole  Ir  Very 
Umettled 


Both  Hifh  and  Low  Recordi  Are 

EfUbluhcd-Call  Money  iVz 

PerCcM 


be  tak^n  to  await  the  vote  of  the  IMI 
Kiroann.  which  matta  tha  aaM*  day — 
tiext   Wednaoday. 

Tha  itilona  of  tiM   UsU  Aft  can- 
aidered  here  ••  llkviy  to  ha 


Tha  iren4  of  pncca  In  the  atock 
market  thia  niomtnr  waa  \ery  ua- 
eartam.  Barn*  aubataatlai  advances 
wtra  racarded.  but  m  aihcr  laauej 
tiMre  waa  aqual  weakness,  and  l>oii> 
lufh  and  law  raoorda  srtre  esubi>xhrd 
Diawt  far  ca^iwr  slocks  continues: 
Iha  artca  «f  the  aiaui  la  at  the  lii|.t 
polai  «f  the  year,  and  both  LTiah  and 
Aiartraia  amaltiam  and  Reftninc  so^J 
lata  atw  htfh  rrvund  thta  momins. 
AaMMif  tha  inactWc  atocka  Conaoli- 
daled  C\gmr  aokl  doan  to  a  low  ratorti. 

Th«  raila  wars  quirt.  Illinota  CsntrmI 
provins  iho  only  (aature.  This  stock 
opawid  a:  1^  potata.  The  traad  In 
Um  oUa  waa  irrr«uUr.  but  both  Royal 


G)mmissionSp 
Final  Transit  P 
Ready  Next  M 

Springs   Surprise   byl 
paring  to  Issue  Its  I 
port  Soon 


City  and  Gmpanies  Exp4 
Fight  Proposal  and  Vak 
— Discuss  DivideadWai 


Th«  Traiudt 
iRvcatlcation  haa  proraaa»d 
fhctorlly  that  it  is  undprstood 
mission  hopaa  to  present 
atAtuiory  plan  of  raocsaaiaail 
mtddle  of  neat  month.  Th* 
tion    had   been    that   it    woul 

dy  for  proaanution  la  li 
the  city,  and  the  pHraU  < 
until  early   next  wmmer. 

Th«  vsruatlun  ftcures  of  I 
lines  'will  be  ready  befora  tl 
this  month,  and  they  wiU  ap# 
the  aa«M  lana  aa  tha  atalM 
Tha  priaaai  aprm  aC  kaar 
probably  ba  riraaaiS  aajtl  i 
the  commissioii  in^y  not  i 
more  until  it  m  ready  to  h«-ai 
and  the  companKa  on  the 
plan  ^nd  the  valuatMm' re*ul 
iKHts  arc  thai  the  clCv  » 
the  plan  and  thai  iW  irsi 
paniea  will  Achl  both  the  m* 
rasulta  a(  valuation. 

laaM  ckanca*.  it  1«  vndrn 
buand  lo  ba  m^di  in  th<  t 
result    of     constructive     criti 

trad  from  traction  oflh  ta 
the  pmeal  inquiry,  alfhougn 
t'Xpctted  to  be  minor  one»..  !■ 
the  plan  has  t'een  approved 
men  aa  Frans  HeJi^y.  pres 
cncral  mj*nsr«-r  of  tlv  inte. 
ol  Ttmothv  H  Williams,  rs 
of  Ihc  Brooklyn  fUr^kJ  Trai 
pany.  and  Undley  M.  f^ari 
rvlver  of  the  Brooklyn  Rapt 
Company 

Althouth  all  ibraa  aitik^ 
plan  of  havma  a  boaHl  of  « 

wa  It  miffhi  aublact  the 
tat  ion  system  to  pollilral  do 
II  bellavod  thai  the  prinrip 
hy  tha  camaikmlBn  m  the  k> 
rcrrect  aaa.  and  that  it  ca 
tainad  altar  lk«  SMammaa 
Kava  baaa  workaa  oat  Aa 
Stcratary  oC  War.  Mr.  Oarrl 


When  we  became  newspaper  readers  we  did 
not  have  to  practice  on  a  new  type.  The 
familiar  roman  lower  case  of  our  school  and 
story  books  formed  our  daily  foods 


[96] 


2^^c  man  to^o  bepgn^  abt)erti[ing  print 
f^oulb  aft  f|im[elf  ti)x^:  „mi)at  ntuft  t^x^ 
))tece  of  abt)erti[ing  bo  ?  .^oto  can  Q  mate 
ttjpe  bo  itg  moft  effectbe  loorf  in  l^elping  tl^c 
reaber  to  a  quid  unberftanbing  of  t^e  ab* 
Oerti[ing  ftor^?  ^om  can^  mate  it  caf^  anb 
[till  eafier  for  l^im?"  9lnb  if  i^t  befigner 
attad^  l)x^  iob  in  t^\^  fpirit,  et)en  t^oug^ 
t|i^  ffiQ  i^  not  great,  I|e  mill  go  farther 
totoarb  mating  goob  abt^ertifing  tl^an  tlje 
man  tol^o  i^  concerneb  merely  toitl^  pro* 
bucing  t^e  fu^iS  anb  featl&er^  mi^calleb 
,,artiftic  printing/' 


li 


57 
English  words  in  German  type. 
Try  to  read  them. 

man  print,  or  Greek  or  Chinese  characters,  will 
have  the  same  effect  on  a  child  or  other  person 
accustomed  to  Roman  letters." 

Or  again,  if  we  had  been  brought  up  on  print 
set  in  all  capital  letters,  we  would  have  little 
difficulty  in  reading  such  an  advertisement  as 
58,  which  now  makes  us  work  entirely  too  hard 
to  keep  a  grip  on  our  attention. 

[97] 


i  i 
1  ' 


ANNOUNCEMENT 

THE  NAME  OF  THE  ADVERTIS' 
ING  ART  ORGANIZATION  FOR' 
MERLY  KNOUTM  AS  AMSDEN  & 
HCHTNER  HAS  BEEN  CHANGED  TO 

THE  AMSDEN  STUDIOS 

THE  OLD  QUARTERS  PROVING  INAD' 
EQUATE  TO  OUR  PRESENT  REQUIRE' 
MENTS  THE  STUDIOS  HAVE  BEEN  RE' 
MOVED  TO  THE  TOP  FLOOR  OF  THE 
ENGINEERS  BUILDING-CLEVELAND 

MR'CHARLES'R'CAPON'LATELYOF 
BOSTON' A  DECORATIVE  DESIGNER 
WITH  RARE  TASTE  AND  JUDGMENT 
AND  AN  UNUSUAL  KNOWLEDGE 
OF  THE  RESOURCES  OF  ENGRAVING 
AND  PRINTING  IS  ART  DIRECTOR  OF 
THEAMSDENSTUDIOS'MR-CAPONS 
LONGEXPERIENCEIN  ADVERTISING 
ARTAND  HIS  EXECUTIVE  QUALITIES 
MAKE  HIM  PARTICULARLY  ABLE  TO 
SELECT  AND  TO  INSPIRE  THE  ARTIST 
BEST  ABLE  TO  REALIZE  EACH  IDEA 
r  THE  RESULT  IS  PICTURES  &  DESIGNS 
THAT  HELP  TO  SELL  MERCHANDISE 

AMSDEN  STUDIOS 

ADVERTISING  ART 
ENGINEERS  BUILDING'CLEVELAND 


58 

We  have  not  had  enough  practice  in  this 
kind  of  reading  to  make  it  easy.  It  calls  for  a 
distinct  effort,  which  few  are  willing  to  make. 


[98] 


I  was  talking  with  an  advertising  man  out  in 
Milwaukee  one  day  about  the  use  of  all  caps  in 
certain  kinds  of  announcements. 

**Don't  you  think  the  use  of  caps  is  all  right  for 
a  dignified  business  announcement?"  he  asked. 

"It  depends  on  the  kind  of  feeling  you  want 
your  advertisement  to  arouse,"  I  told  him. 

"If  you  want  your  announcement  to  chill 
people  with  the  cold  dignity  of  a  tombstone,  go 
ahead  and  use  caps  all  you  like.  Nothing  could 
be  better  for  the  purpose. 

"But  if  you  want  your  announcement  to 
radiate  a  bit  of  warmth  and  friendliness,  then 
use  a  friendly  type.  Caps  will  help  you  suggest 
stodgy,  standoffish  dignity — if  that's  what  you 
want.  But  lower  case  has  a  friendlier  look.  It  is 
so  open  and  easy  of  approach  that  you  aren't  a 
bit  afraid  of  it!" 


lu 


If  we  had  had  a  good  deal  of  practice  in  reading 
italic  type,  59  would  not  present  the  difficulties 
that  it  now  does. 


[99] 


,  h 


!|i 


INTRODUCTION 

H  E  'Drama  sought  for  a  place  in 
<iAmerica  from  early  (Colonial days. 
Fostered  in  some  sections,  frowned 
upon  in  ot  hers,  housed  appropriate- 
ly  in  some  cities^  elsewhere  denied 
foot  hold  or  roof  tree,  the  year  1787 
found  the  <tAmerican  public  divid- 
ed for  and  against  it,  with  theatres 
established  tn  a  few  of  the  principal  cities.  Farces,  satires  ^ 
tragedies, writ  ten  and  printed  but  not  acted,and  the  same 
acted  but  not  printed,  had  sprung  up  in  increasing  numbers. 
Even  tn  V^(ew  England,  where  prejudice  was  deep-rooted 
against  all  forms  of  ^^play-acting"  collegians  had  written^ 
spoken^and  acted  dramatic  pieces  at  College  exhibitions. 
T>uring  the  'British  occupancy  of 'Boston,  ^?^w  York, 
andThiladelphta,  plays  were  often  given  by  them,  a  few 
of  which  were  composed  by  officers.  'Playbills  of  these  per- 
formances were  sent  to  general  fVashington  and  members 
of  bis  armies.  Plays  by  writers  of  <iAmerican  birth  had 
been  published  and  acted  in  J^ondon  before  the  Revolution. 
The  honor  of  having  written  the  first  tragedy  to  be  per- 
fanned  on  an  American  stage  by  professionals,  belongs  to 
Thomas  Godfrey  of  Philadelphia.  His  The  Prince  of  ^ar- 


59 

Italic  type  always  slows  up  reading  because 
we  are  not  used  to  it.  It  calls  for  effort. 
The  wise  advertiser  tries  always  to  make 
reading  effortless. 

[100] 


\l\ 


Once  more,  boldface  type  is  the  occasional, 
the  less  familiar  type  in  the  vast  majority  of  our 
reading.  Just  because  a  boldface  type  stands 
out  clearly  in  a  head  or  subhead ,  does  not  mean 
that  it  will  be  equally  clear  and  readable  when 
set  in  masses  for  body  type.  It  will  not.  Para- 
graph after  paragraph  set  in  boldface  type  like 
this,  makes  slow  reading  and  quickly  tires  the 
eyes.  It  should  be  avoided.  DeVinne  in  his 
"Plain  Printing  Types"  says:  "Print  to  be  most 
readable,  must  have  more  of  white  than  of  black 
within  the  page."  And  again  "Types  need  a 
generous  relief  of  white  space,  not  only  within 
but  without  each  character,  to  give  proper  value 
to  their  black  hues." 


I 

m 


hI 


To  cut  a  long  story  short,  "easy-to-read"  is 
merely  a  name  signifying  familiarity  based  on 
lifelong  practice.  No  other  theory  can  be  made 
to  stand  analysis. 

In  example  60  I  am  showing  five  good  type 
faces  for  the  body  matter  of  advertising.  There 
are  other  good  faces  than  those  shown  here,  but  the 
more  closely  they  conform  to  these  familiar  and 
friendly  faces  the  more  easily  will  they  be  read. 


[101] 


f! 


I  H 


Body  types  to  use 

This  is  Caslon  Old  Style,  one  of  the  faces 
everybody  reads  with  ease,  therefore  good 
type  for  advertising. 

This  is  Scotch  Roman,  one  of  the  faces 
everybody  reads  with  ease,  therefore  good 
type  for  advertising. 

This  is  Century  Expanded,  one  of  the 
faces  everybody  reads  with  ease,  there- 
fore good  type  for  advertising. 

This  is.Bookman  or  Old  Style  Antique,  one 
of  the  faces  everybody  reads  with  ease, 
therefore  good  type  for  advertising. 

This  is  Cheltenham  Wide,  one  of  the  faces 
everybody  reads  with  ease,  therefore  good 
type  for  advertising. 


60 

[102] 


M 


:  ! 


Types  NOT  to  use 

This  is  Vogue.  Unfamiliar  type  faces 
such  as  this  prevent  quick  and  easy 
reading  and  so  are  bad  advertising. 

TMs  ns  Wefelbo  Ounfauismllniir  ftyp©  l!gi(g(gg 
suncsDn  sis  dMs  [pirs^simd  qjonScslk  smS,  @§qs^ 
rcBsidlniiQ^  SQinKdl  g®  sur®  Ibiidl  sidl^aiHtDgniBi^o 

This  is  Packard.  Unfamiliar  type  faces  such  as 
this  prevent  quick  and  easy  reading,  and  so  are 
tad  advertising. 

SIfia  \B  ®l&  lEngltjalf,  Unfamiliar  Igpe  futtB 
mtif  UB  tlfiB  pvtnmt  quirk  an&  raag  rra&tttg 
httb  jem  arr  baft  aburrlifitng. 

fliis  is  Cheltenham  Bold  Extra  Condensed.  Unfamiliar  type 
faces  such  as  this  prevent  quick  and  easy  reading  and  so 
are  had  advertbing. 


61 
[103] 


li 


It,- 


-1 ; 


\>i 


i  ■ 

t 

i 


I  might  say  in  passing,  that  in  an  experience 
covering  more  than  fifteen  years  of  practical  type 
work  I  have  rarely  found  it  necessary  or  desir- 
able to  go  beyond  the  faces  shown  in  60. 

In  61 1  am  showing  five  faces  of  type  not  good 
for  advertising  because  reading  them  makes  us 
work  too  hard.  The  typefounders'  specimen 
books  are  full  of  faces  equally  bad.  Avoid  them. 
You  cannot  deliver  your  advertising  message 
effectively  if  it  is  set  in  faces  such  as  these. 

"Unfortunately  the  needs  of  the  reader  are 
lightly  regarded  by  the  men  who  make  types," 
says  De  Vinne.  "They  think  more  of  the  display 
of  their  own  skill.  The  punch-cutter's  straining 
after  a  hair-line  that  stops  just  before  invisi- 
bility is  ably  seconded  by  the  pressman  who 
scantily  inks  these  light-faces  with  a  hard  ink- 
roller,  and  then  with  the  feeblest  possible  im- 
pression impresses  them  against  an  inelastic 
surface  on  dry  and  hard  calendered  paper.  This 
weak  and  misty  style  of  printing  is  vastly  ad- 
mired by  many  printers,  and  perhaps  by  a  few 
publishers,  but  it  is  as  heartily  disliked  by  all 
who  believe  that  types  should  be  made  for  the 

[  104  ] 


needs  of  the  reader  more  than  for  an  exhibition 
of  the  skill  of  the  printer  or  type-founder. 

"The  rights  of  readers  deserve  more  considera- 
tion. The  rules  that  editors  and  men  of  business 
apply  to  writing  should  be  applied  to  booktypes. 
The  handwriting  that  cannot  easily  be  read,  even 
if  its  individual  letters  have  been  most  daintily 
and  scientifically  formed  by  a  master  of  penman- 
ship, with  the  sharpest  of  hairlines  and  the  great- 
est profusion  of  flourishes,  is  quite  as  intolerable 
as  that  which  is  slovenly  and  illegible.  No  printer 
desires  it  for  his  copy;  no  merchant  tolerates  it  in 
his  account  books;  no  one  wants  it  in  his  corre- 
spondence. If  one  seeks  a  cause  for  the  mercantile 
and  editorial  dislike  of  a  so-called  'pretty'  hand- 
writing, he  is  sure  to  find  it  partially  in  its  needless 
flourishes  and  largely  in  its  delicate  and  unseen 
*razor-edged'  lines." 


[105] 


ll 


:i? 


't  ! 


1;  i 
ft -J 


n 
I 


IPIOKEERSl 


that 
ideas  < 


It 


»6t 


anyvif 

9pf^83Ui 

fBOCticallytlie 


And 


wildeniess 
imt  Uieir 
practice 
*that" 

vision  ofwflMai' 
iOnwealm 

Of*  or 
_  tovcf 

ooaniKiit* 
Tears 

was 


Midile 


iePress 


designed  aodlKiilt  in  Older  to 


pttt 


nor 


snttns^i] 
s.^eiuier 


new 


into 


uiesiiied 


epoS: 


oqtild 

eitrtr 

would 


inhodiictK 


ITCSSWWtttl 

ntbelustory 


mdnm,i 


onr  Oi  pri! 


ffprint' 
•Id'Wide 


itfilmtion«ft  would . 
ftaadaid  iweas  of  its  type« 


62 

"Gracious  heavens!"  he  cries  out,  leaping 
up  and  catching  hold  of  his  hair,  *' what's 
this?  Print?" 

Dickens:  Somebody's  Luggage 

[106] 


Avoid  freak  lettering.  Lettering  like  that  in  62 
has  no  place  in  common-sense  advertising.  The 
function  of  lettering,  just  as  that  of  type,  is  to 
deliver  the  message.  It  must  above  all  things  be 
easy  to  read. 

The  fault  of  all  such  attempts  as  that  shown  in 
62  is  this:  the  freak  lettering  being  used  solely  as 
an  attention-getting  device,  makes  no  attempt  to 
deliver  the  real  advertising  message  efficiently. 
None  but  a  most  patient  and  eager  reader  would 
even  try  to  decipher  it.  Attention  has  been  got, 
but  to  what  purpose  .f^ 

No,  we  must  not  do  stunts  with  lettering  or 
type  to  get  attention.  We  must  use  our  ingenu- 
ity to  get  attention  in  some  other  way  and  de- 
pend on  lettering  as  well  as  type  to  say  our  say 
clearly  and  distinctly  when  attention  has  been 
directed  to  them. 

The  following  quotation  is  from  a  report  I 
made  to  an  advertiser: 

"Your  lettering,  pretty  generally,  is  not  as 
good  as  it  might  very  well  be.  It  is  generally  not 
as  clear  and  easy  to  read  as  a  good  face  of  type. 
It  is  often  freakish,  and  often  entirely  too  black 

[  107  ] 


|i 


\ 


for  the  needs  of  the  occasion,  particularly  the 
numerous  reverse  cuts  that  you  use. 

"I  have  no  real  objection  to  lettering  when  it 
serves  a  more  useful  purpose  than  type.  If,  for 
instance,  it  attracts  more  attention  or  gives  you 
a  better  looking  page,  or  speeds  your  message 
better  than  type,  by  all  means  use  hand-letter- 
ing. But  I  cannot  see  that  this  is  the  case  in  the 
pages  I  have  been  looking  at. 

"Your  lettering  is  not  as  easy  to  read  as  a  good 
face  of  type,  it  has  no  more  attention- value  and, 
I  presume,  costs  you  more  money  than  type- 
setting would." 

Last  summer  when  I  was  out  West  working  on 
a  mail  order  house  catalog,  some  of  my  energetic 
friends  subjected  me  to  the  somewhat  novel  pain 
caused  by  an  interview.  Their  presentation  of 
my  ideas  seems  to  me  to  be  worth  quoting: 

"Take  your  plain,  ordinary  citizen.  Is  he  im- 
pressed by  type  acrobatics?  He  does  not  know 
Bodoni  from  swash  letter.  He  reads  for  the  thought 
or  the  message,  with  no  attention  to  type  fantas- 
tics  unless  they  interfere  with  reading. 

*'You  remember  when  the  big  printers'  strike 

[  108  ]       . 


was  on  in  New  York  and  the  Literary  Digest 
came  out  in  typewriting.'^  It  was  a  wonderful 
thing  to  everybody  in  the  printing  or  publishing 
business,  and  of  course  we  admired  it. 

"But  what  about  the  everyday  American  not 
in  the  printing  business,  who  did  not  know  any- 
thing about  these  matters.^  I'll  tell  you — the 
effect  on  the  public  was  summed  up  by  a  lady,  a 
great  devotee  of  magazines,  who  said  to  a  friend 
of  mine,  *It  doesn't  seem  like  reading^  That  was 
all  the  impression  made  upon  her  by  the  Digest's 
ingenuity.  They  pulled  off  a  wonderful  stunt.  But 
it  was  akin  to  the  grandstand  plays  I  object  to, 
and  you  can  see  the  only  impression  it  made  on 
plain  people  was,  'it  doesn't  seem  like  reading.' 

"Type  is  nothing  but  type,  that's  what  I  am 
trying  to  say.  It  is  only  the  freight  car  that  carries 
the  Victrola .  It  can't  play  music  by  itself  and  must 
not  be  expected  to." 

The  more  one  fusses  with  type,  in  conscious 
and  deliberate  effort  to  do  something  new  and 
astonishing  with  type,  the  more  he  defeats  the 
only  purpose  of  type,  which  is  to  convey  ideas 

[  109  ] 


I 

m 


I 


\| 


>fc  I 


by  means  of  words. "Fancy"  typographical  effects 
always  slow  up  the  reading,  and  this  condemns 
them  from  an  advertising  and  selling  standpoint. 

The  vehicle  of  a  message  should  never  be  so 
unusual  and  fantastic  as  to  divert  attention  from 
the  message  itself.  Yet  precisely  that  happens 
when  "stunt"  typography  diverts  the  mind  of  a 
reader  from  the  advertiser's  argument. 

To  get  good  typography,  the  very  opposite  of 
fussing  and  straining  for  effect  should  be  the  rule 
of  action. 

It  might  be  said  that  to  use  type  properly  one 
should  never  think  of  type.  Attention  should  be 
fixed  all  the  time  on  the  copy.  Is  this  headline 
clear?  Does  its  meaning  leap  to  the  eye?  Is  this 
text  perfectly  readable?  Will  the  reader  get  this 
selling  talk  in  an  easy  way,  without  confusion? 
Is  there  anything  on  this  page  that  repels  the  eye, 
distracts  attention,  or  in  any  way  puzzles? 

These  are  the  questions  that  the  would-be  good 
typographer  should  ask  himself  continually.  Not 
one  of  them  refers  to  type  as  type .  Every  one  refers 
to  copy .  Yet  the  effect  is  to  produce  the  very  best 
kind  of  typography — clear,  attractive,  simple. 

[110] 


Avoid  dark  backgrounds  for  type.  The  clean, 
white  surface  of  paper  is  the  best  possible  back- 
ground for  type  that  is  to  be  easy  to  read.  The 
type  in  63  is  not  easy  to  read  because  the  clean 
surface  of  the  paper  has  beqn  muddied  up  by  a 
halftone  screen  background.  In  64  the  back- 
ground has  been  cut  out  of  that  part  of  the  ad- 
vertisement occupied  by  type  and  lettering,  so 
that  these  show  up  clear  and  distinct. 

Dark-colored  printing  papers  or  dark  tint 
blocks  make  poor  backgrounds  for  type.  There 
is  never  any  excuse  good  enough  for  interfering 
with  the  legibility  of  type. 

I  have  already  explained  above  why  type 
should  not  be  used  stunt-fashion  to  get  attention. 
White  type  on  a  dark  background  (as  in  65)  may 
be  a  good  stunt  as  an  attention-getter.  It  does  not 
invite  reading  because  it  makes  us  work  too  hard. 


[Ill] 


I 


'     if' 


j.    < 


^jU'iim/i^-is^-  nmm: 


A  Pi.KASA'KT  Sf^r-''^*,     __  ■'■ 
A?^».  A  y»OiP17CTtVfC  llll'Of> 

TTr^m'aTT  the  most  bigli-gra4e  lielf*  4»|:-i«tjlpifrig  tl 
b«j«t  working:  conditions.  \. 

'     .  '^  ■  ,  \      ^ 

^l*rtnrnl  "•  ilaitmg''  an«1  3TsintegratT<)Q'~^re'le^?^ 

'    .-ftri<V  j)r<»toct  floors  forever  from  <ieioriorati(>n, 
Ui/atrectud  bj  water^  oil,  acids  or  greaseV^ 

An  profitable  t4^  use  as  every  ^*/i./.  1^.''  Procl^ict.  ■ 

Write  for^' *'/)?. t.B'"."  literature'^— ;i  good  paint., for 

■'  CTery  pnrpt»se.*- 

:   J»J.EA,<K  AI»l)HtXS  IJKJT.   !>. 


TOCH  BROTH EHS 

,120  FifHi  Avemi«%  IS'fv*    Vork 


'"-^"i 


X. 


\\\y,U 


•  A^*  rul 


63 

Type  cannot  deliver  its  message  with 
quickness  and  ease  if  reading  is  made 
difficult — as  it  is  here  by  the  dark  back- 
ground under  the  type. 


[112] 


tart 

PHONOGRAPH 


i'V.^m^Mdmii'mi- 


EASTER  MUSIC 

Through  the  Starr's  SmginS 
Throat  of  silver  grain  spruce 
— the  music  wood  of  the 
famous  Stradivarius  violins 
—comes  Easter  music  In  its 
purity. 

The  Starr  betters  aH  rec- 
ords— Hearing  ia  Believ' 
ing  Ask  the  Starr  dealer 
for  a  hearing. 

THE  STARR  PIANO  CO. 

Richmond,  ind.     New  York 

Lo*  Angrt«»    Birmingham,  Alk- 

London,  C«n»d« 


64 

Here  the  background  has  been  cut  out  of 
that  part  of  the  advertisement  occupied  by 
type  and  lettering,  so  that  these  show  up 
clear  and  distinct. 


[113] 


J 


E:     1 


FOUNTAIN  PEN 


The  Pen  for  Business      / 

IN  the  office,  on  the  road  or  in  the  shop  — wher-  i 
ever  a  buiinest  man  has  occasion  to  use  it— the  / 
SHEAFFER  Pen  is  always  ready  for  action,  f 

It  may  have  been  laying  on  the  desk,  jostled   / 
around    in    a   traveling    bag.   or    carried    upside    /    j 
down  in  the  pocket;  that  doesn't  matter.  ' 

Youll    find   the   pen    i«    not   flooded,  nor  the   barrel     / 
tmeared  with  inU.    You  don't  need  to  ihake  it  or  try  it    / 
out.      A  SHEAFFER  writes  with  .  imooth,  fine  line  the    / 
instant  the  point  touches  paper.  f 

The  SHEAFFER  Pen  i*  built  for  basinets.     It  isn't    « 
finicky  about  the  kind  of  paper  it  writes  on;  adants    / 


r».  Other  high-grade  pens  have  some 
of  the  SHEAFFER  patent  features.  Only  the 
SHEAFFER  has  them  alt 

No  reason  why  you  should  miss  the  fult  Matit-  i 
faction  and  *«roica  that  a  SHEAFFER  Pen  / 
would  give  you.  / 


$050  Up 

fcrfCUpCap25c 


t  *  Mturrij  rEN  ro 

fan  M««M.    u.> 

KtVlCt  ST4IIOIO 
m  tnad.M     n>.    Ta/t   Ot, 
*»*   C<«...r.    IM,       Cbx... 

■ •*  •«• .  i* ».-«-. 


II 


65 

This  does  not  invite  reading  IxTause  it 
makes  us  work  too  liard. 


[114] 


The  size  of  t3rpe 


You  are  having  a  rather  hard  time  reading  this,  aren't  you.'  The  letters  are  so  small  and 
thin,  they  stram  your  eyes  so  much,  that  you  are  having  considerable  of  a  job  to  make 
out  what  I  am  saying.  Well,  nobody  likes  to  read  this  kind  of  type  any  better  than  you  do. 
so  if  you  want  to  get  your  advertising  read,  don't  use  type  so  small  as  this.  It  is  six  point. 

This  eight  point  t\T)e  is  a  Httle  easier  on  your  eyes .  It  does  not  require 
quite  so  much  efifort  to  read.  You  read  it  faster  and  with  less  strain. 
But  you  would  not  get  much  fun  out  of  reading  a  book  set  like  this, 
would  you  ?  Then  don't  set  your  booklets  and  catalogs  and  circulars 
and  house  organs  in  type  so  small  as  this.  Not  enough  of  the  people 
you  want  to  reach  with  your  advertising  message  will  read  it. 

This  ten  point  type  begins  to  warm  you  up  to  your  job 
a  bit.  Now  at  last  you've  struck  something  that  you  can 
read  with  a  little  more  comfort.  You  are  reading  it  about 
twice  as  fast  as  the  two  preceding  paragraphs — getting 
over  the  ground  with  more  speed  and  less  strain — taking 
in  what  I  am  saying  with  more  ease.  It  is  a  good  rule 
never  to  set  any  part  of  your  advertising  message  in  type 
smaller  than  this.  Sometimes  you  can't  help  it.  But  do 
as  little  of  it  as  possible.  Just  think  how  fine  it  would  be 
if  our  newspapers  and  magazines  were  set  in  ten  point! 

Some  folks  think  they  have  reached  the  height  of 
readability  when  they  set  their  advertising  in  ten 
point.  Far  from  it.  The  eleven  point  type  in  which  this 
paragraph  is  set  is  a  good  deal  easier  to  read.  You 
could  read  a  pretty  fat  booklet  in  this  type  without 
tiring  your  eyes.  You  would  get  more  pleasure  out 
of  reading  it  than  if  it  were  set  in  smaller  type. 


[115] 


li 


.1 


IM 


h 


Remember,  the  easier  you  make  reading  the 
more  people  you  will  get  to  read  your  advertis- 
ing. There  is  a  limit,  however,  to  the  size  of  body 
type  which  can  be  read  easily.  That  limit  is 
almost  reached  in  the  twelve  point  type  you  are 
now  reading.  This  size  is  plenty  large  enough  for 
most  things.  Occasionally  it  is  desirable  to  go 
beyond  this,  for  advertisements  with  short  copy 
in  big  space,  for  large  booklets,  catalogs  or 
broadsides.  But  for  the  average  piece  of  adver- 
tising print,  twelve  point  type  is  a  joy  to  behold 
and  invites  reading  beyond  any  other  size. 

This  is  fourteen  point  type.  A  very 
useful  size  indeed  for  big  forms  of  printed 
matter  and  large  space  in  publications. 
But  it  reads  rather  more  slowly  than  the 
twelve  point  and  is  therefore  not  so  gen- 
erally useful  for  long  stretches  of  reading. 


[116] 


Reading  Is  slowed  up  consid- 
erably when  we  come  to  eighteen 
point  type,  of  which  this  is  a 
specimen.  It  will  take  more  effort 
to  read  a  given  number  of  words 
in  this  size  than  in  fourteen  or 
twelve  point.  For  a  few  introduc- 
tory paragraphs  in  big  space  this 
size  is  useful,  but  to  read  a  large 
quantity  of  it  at  one  time  would 
quickly  tire  the  eyes. 


[117] 


I 


,1 


8 


ir 


? 


I 
th 

4- 


, 


i  • 


IM 


The  body  type  of  the  advertisement  repro- 
duced in  example  16  was  set  mostly  in  fourteen 
and  eighteen  point,  while  the  body  type  in  17 
was  twelve  point.  The  twelve  point  was  easier 
to  read  than  the  larger  type.  The  larger  type  in 
16  would  have  increased  in  readability  as  more 
white  was  put  between  the  lines.  Nevertheless, 
as  I  have  said  before,  too  much  large  type  in 
masses  quickly  tires  the  eyes. 

The  use  of  type  too  small  for  easy  reading 
results  as  often  from  an  ill-advised  layout  as 
from  overly-long  copy.  Look  again  at  examples 
18  and  19  and  read  what  I  said  about  them. 
White  space  is  a  good  thing  in  moderation,  but 
a  readable  size  of  type  is  better. 

Roy  Durstine  in  his  book  "Making  Advertise- 
ments" tells  us  plainly  enough  why  so  many 
advertisements  are  set  in  type  too  small  to  be  read 
easily.  Thus  runs  the  sad,  sad  tale: 

"An  art  director  has  made  a  layout.  In  his 
design  he  has  inserted  a  small  block  of  horizon- 
tal lines  on  which  he  has  lettered  '  Copy  Here.' 
OfiF  in  the  other  end  of  the  office  a  copy  man  has 
received  a  requisition  for  seven  or  twelve  adver- 

[118] 


tisements.  He  has  written  them  to  suit  his 
arguments.  And  then  some  poor  typographer 
has  to  try  to  squeeze  a  three-hundred  word  prose- 
poem  into  a  3  X  2  space.  Perhaps  he  may  have 
the  hardihood  to  send  it  back  with  a  polite  re- 
quest to  cut  about  half  of  the  copy.  Then  the 
copy  man  either  jumps  up  and  down,  and  kicks 
the  waste  basket,  or  sends  it  back  to  be  set  in 
eight  point  type,  depending  on  the  relative  im- 
portance of  the  copy  man  and  the  type  man." 

I  shook  a  mail  order  house  out  of  its  settled 
conviction  that  no  larger  size  of  type  was  possi- 
ble for  the  descriptions  of  merchandise  in  its 
catalog. 

I  asked  for  no  reduction  in  the  amount  of  text 
or  number  of  items  on  the  page.  I  asked  only  for 
a  very  small  reduction  on  the  depth  of  some  of 
the  cuts.  This  reduction  would  not  hurt  the 
selling  value  of  the  cuts  at  all.  My  clients  agreed 
and  then  I  showed  how  with  that  slight  gain  in 
type-space  we  could  use  a  larger  size  of  type,  a 
stronger  face,  make  our  descriptions  more  read- 
able by  frequent  paragraphing  and  get  more 
daylight  through  the  page. 

[119] 


I'-'  > 


;s  i 

:3J 


I; 

Si 


h'i 


Ill 


In  working  over  another  catalog  for  a  large 
mail  order  house,  I  found  that  on  many  pages  a 
good  deal  of  space  was  wasted  by  too  great  a 
quantity  of  fancy  borders,  circles,  ovals,  boxes. 
Entirely  too  much  flubdub,  actually  smothering 
the  illustrations  of  the  goods  and  eating  up  space 
badly  needed  for  type  describing  the  goods.  By 
discarding  just  a  little  of  the  excess  baggage 
these  pages  carried  in  the  way  of  decoration,  we 
made  room  for  a  larger  size  of  type.  And  we  had 
cleaner-looking  pages. 

When  you  must  use  small  type,  keep  in  mind 
that  all  faces  of  type  are  not  equally  readable  in 
the  smaller  sizes.  Choose  the  face  that  will  give 
you  the  greatest  legibility  for  its  size.  The  com- 
parison of  the  three  different  eight  point  types  in 
example  66  will  make  this  clear. 

The  advertising  man  of  a  Western  publisher 
was  showing  me  a  tiny  booklet  he  had  just 
printed.  Twenty-four  pages  or  thereabouts,  set 
mostly  in  a  lightface  eight  point.  And  it  was 
printed  in  a  light  green  ink! 

When  I  asked  him  why,  to  the  handicap  of  a 
type  too  small  to  read  comfortably ,  he  had  added 

[  120  ] 


Advertising  typ>ography  is  not  a  separate  and 
peculiar  art,  but  the  natural  and  simple  prin- 
ciples of  typography  applied  to  advertising 
purposes .  Remember  that  we  put  words  into 
type  to  get  them  read.  Whatever  helps  to 
make  reading  easy  is  both  good  typography 
and  good  advertising.  Whatever  slows  up 
reading  and  hinders  the  delivery  of  our  mes- 
sage is  both  poor  typography  and  poor  ad- 
vertising. 


Advertising  typography  is  not  a  separate 
and  peculiar  art,  but  the  natural  and  sim- 
ple principles  of  typography  applied  to 
advertising  purposes.  Remember  that  we 
put  words  into  type  to  get  them  read. 
Whatever  helps  to  make  reading  easy  is 
both  good  typography  and  good  adver- 
tising. Whatever  slows  up  reading  and 
hinders  the  delivery  of  our  message  is  both 
poor  typography  and  poor  advertising. 


Advertising  typography  is  not  a  sepa- 
rate and  peculiar  art,  but  the  natural 
and  simple  principles  of  typography 
applied  to  advertising  purposes.  Re- 
member that  we  put  words  into  type 
to  get  them  read.  Whatever  helps  to 
make  reading  easy  is  both  good  typog- 
raphy and  good  advertising.  What- 
ever slows  up  reading  and  hinders  the 
delivery  of  our  message  is  both  poor 
typography  and  poor  advertising. 


66 


This  example  shows  the  need 
for  careful  selection  of  face 
when  the  size  must  be  small. 
All  three  blocks  are  eight  point. 


but  the  first  (Scotch  Roman) 
is  weak  and  thin  in  comparison 
with  the  second  (Bookman)  and 
the  third  (Century  Expanded) . 


[121] 


\ 


I 


ri 


the  further  handicap  of  a  Hght-colored  ink,  the 
only  answer  I  could  get  was  that  he  wanted 
"something  different." 

I  wonder  what  the  book  collector  I  quoted 
previously  would  have  said  to  that! 

Under  the  most  favorable  conditions,  type 
printed  in  colored  inks  is  harder  to  read  than  if 
printed  in  black.  Under  a  poor  light  reading 
becomes  painful  if  not  impossible. 

We  have  been  discussing  here  the  size  of  type 
in  which  to  set  the  body  of  our  advertising  ma- 
terial. Display  is  another  matter.  That  has  been 
taken  up  in  its  own  section. 

Big  masses  of  large  type  on  a  newspaper  or 
magazine  page  cannot  be  read  with  comfort  un- 
less held  off  at  arm's  length— that  is,  farther 
away  from  the  eyes  than  the  ordinary  reading 
distance.  We  instinctively  push  the  page  away 
from  us  when  these  overwhelmingly  big  type  ad- 
vertisements greet  our  eyes.  It  is  well  to  remem- 
ber that  type  which  we  read  easily  on  a  car  card 
or  window  card  because  of  the  distance  we  are 

[  122  ] 


away  from  it  becomes  hard  to  read  when  held  in 
the  hand. 

Or  again,  we  should  remember  that  the  far- 
ther we  are  away  from  type  the  larger  the  size 
must  be  to  be  easily  read.  Many  car  cards  and 
window  cards  are  printed  in  type  too  small  to  be 
easily  read  from  where  we  sit  or  stand. 


[123] 


I'  / 


M 


m 


l! 

i 


The  length  of  line 

We  all  know  that  a  short  line  of  type  is  easier  to 
read  than  a  long  line,  and  that  the  smaller  the 
type  the  shorter  should  be  its  maximum  length 
of  line. 

But  we  often  set  our  type  in  lines  too  long  to 
be  read  easily.  Look  through  the  advertising 
columns  of  any  issue  of  any  newspaper  or  maga- 
zine and  you  will  find  dozens  of  advertisements 
in  which  the  type  is  set  in  lines  too  long  for  the 
size  used.  Same  thing  with  all  sorts  of  adver- 
tising printed  matter. 

The  one  thing  that  makes  the  atrociously  small 
type  used  by  our  newspapers  at  all  bearable  is 
that  it  is  set  in  short  columns.  Without  the  help 
of  a  short  line  it  would  be  almost  unreadable. 

Part  of  the  trouble  you  had  in  reading  the  six 
and  eight  point  type  in  the  section  headed  "The 
size  of  type"  was  due  to  the  long  lines.  Even  the 
ten  and  eleven  point  type  was  set  in  lines  too 
long.  I  did  it  on  purpose  so  that  I  could  call  your 
attention  to  them  here. 

[124] 


; 


If  the  six  point  type  had  been  set  in  two  col- 
umns like  this: 


You  are  having  a  rather  hard  time  reading 
this,  aren't  you?  The  letters  are  so  small 
and  thin,  they  strain  your  eyes  so  much, 
that  you  are  having  considerable  of  a  job 
to  make  out  what  1  am  saying.  Well,  no- 


body likes  to  read  this  kind  of  type  any 
better  than  you  do,  so  if  you  want  to  get 
your  advertising  message  read,  don't  use 
type  so  small  as  this. 
It  is  six  point. 


67 


-and  the  eight  point  like  this: 


.Xhis  eight  point  type  is  a  little 
easier  on  your  eyes.  It  does  not 
require  quite  so  much  efiFort  to 
read.  You  read  it  faster  and  with 
less  strain.  But  you  would  not  get 
much  fun  out  of  reading  a  book  set 


like  this,  would  you?  Then  don't 
set  your  booklets  and  catalogs  and 
circulars  and  house  organs  in  type 
so  small  as  this.  Not  enough  of  the 
people  you  want  to  reach  with  your 
advertising  message  will  read  it. 


68 

— ^part  of  the  pain  and  anguish  of  reading  them 
would  have  been  overcome.  But  not  entirely. 
The  sizes  are  too  small  for  easy  reading. 

The  ten  point  type  should  have  been  set  in  a 
line  no  longer  than  this: 

This  ten  point  type  begins  to  warm  you  up 
to  your  job  a  bit.  Now  at  last,  you've 
struck  something  that  you  can  read  with 
a  little  more  comfort.  You  are  reading  it 
about  twice  as  fast  as  the  two  preceding 
paragraphs — getting  over  the  ground  with 
more  speed  and  less  strain — taking  in  what 
I  am  saying  with  more  ease. 

[125] 


I'  i 


ik^li 


i 


And  the  eleven  point  should  have  been  set  in 
a  line  no  longer  than  this: 

Some  folks  think  they  have  reached  the  height 
of  readability  when  they  set  their  advertising 
in  ten  point.  Far  from  it.  The  eleven  point 
in  which  this  paragraph  is  set  is  a  good  deal 
easier  to  read.  You  could  read  a  pretty  fat 
booklet  in  it  without  tiring  your  eyes.  You 
would  get  more  pleasure  out  of  reading  it  than 
if  it  were  set  in  smaller  type. 


70 

On  the  page  opposite  is  a  table  that  w  ill  guide 
you  in  determining  the  minimum  and  maximum 
lengths  of  line  for  type  sizes  up  to  eighteen  point. 

This  is  how  the  table  works.  Ten  point  type, 
for  instance,  cannot  be  set  to  advantage  in  a  line 
shorter  than  13  picas.  To  do  so  would  cause  poor 
spacing  between  words  (too  wide  or  too  narrow) 
and  the  breaking  of  too  many  words  at  the  ends 
of  lines.  The  result  would  be  badly  composed  type 
that  makes  hard  reading. 

On  the  other  hand,  ten  point  type  should  not  be 
set  in  a  line  longer  than  16  picas.  The  eye  cannot 
comfortably  carry  a  line  of  ten  point  longer  than 

16  picas. 

[126] 


The  proper  length  of  line  for  different  sizes  of 
type  is  one  of  the  most  important  principles  of 
typography.  It  should  be  rigidly  observed. 


Length  of  Line 


Type  Size 


Minimum    Maximum 
IN  Picas       in  Picas 


i 


6  point 

8 

10 

8  point 

9 

13 

10  point 

13 

16 

11  point 

13 

18 

12  point 

14 

21 

14  point 

18 

24 

18  point 

U 

30 

■)1 


i  ■'I 


[127] 


1 


'hi 


it 

I, 

i 

if 


'Ji 


I    . 


Space  between  lines  (leading) 

We  make  our  type  easier  to  read  by  putting 
enough  space  between  the  lines  to  allow  for  an 
easy  passage  of  the  eye.  This  paragraph  is  not  as 
easy  to  read  as  it  should  be.  It  is  set  solid.  Ihere 
is  no  space  between  the  lines  other  than  that  on 
the  shoulder  of  the  type  itself.  Open  (or  leaded) 
composition  is  always  pleasanter  to  look  at  and 
easier  to  read  than  solid  composition  as  m  this 
paragraph.  Particularly  when  the  size  is  ten  pomt 
or  larger. 

This  paragraph  is  easier  to  read  than  the  one 
preceding.  It  has  a  two  point  lead  between  the 
lines.  Every  twelve  point  type  should  have  at 
least  two  points  of  white  between  the  lines.  When 
it  is  set  solid,  it  does  not  invite  reading  as  much  as 
it  should.  Twelve  point  type  is  even  more  invit- 
ing to  the  eye  when  it  has  three  or  four  points 
between  the  lines.  As  you  will  note  in  the  follow- 
ing paragraph. 

This  paragraph  is  set  in  the  same  face  of  twelve 
point  type  as  that  of  the  two  preceding  para- 
graphs. At  first  glance  it  looks  like  a  different 
face  of  type.  This  different  look  is  caused  by  the 

[  128  ] 


increased  amount  of  white  between  the  lines  in 
this  paragraph.  There  is  four  points  of  white 
space  between  the  lines,  or  in  the  more  familiar 
phrase,  this  paragraph  is  "double-leaded." 

Because  of  the  ease  of  reading  it  and  the  alto- 
gether inviting  page  that  it  makes,  I  chose  twelve 
point,  double-leaded,  as  the  type  for  this  book. 

As  to  the  amount  of  space  to  put  between  lines 
of  different  sizes  of  type,  common  sense  will  rule 
as  in  all  other  matters  of  advertising  typography. 
Get  enough  white  between  lines  of  type  to  make 
them  inviting  and  easy  to  read.  Stop  when  you 
have  enough.  Don't  overdo.  Here  is  a  table  that 
will  serve  as  a  guide: 


Type 
Size 

6  point 
8  point 

10  point 

11  point 

12  point 
14  point 


Leading  Table 

Minimum    Maximum 
Leading     Leading 


Solid 

Solid 
f  Solid  to 
[2  point 

1  point 

2  point 

3  point 

[129] 


1  point 

2  point 

4  point 
4  point 
6  point 
8  point 


liV 

a; 


Isfe 


Advertising  typography  is  not  a  sepa- 
rate and  peculiar  art,  but  the  natural 
and  simple  principles  of  typography  ap- 
plied to  advertising  puqDOses.  Remem- 
ber that  we  put  words  into  type  to  get 
them  read .  Whatever  helps  to  make  read- 
ing easy  is  both  good  typography  and 
good  advertising.  Whatever  slows  up 
reading  and  hinders  the  delivery  of  our 
message  is  both  poor  typography  and 
poor  advertising. 


71     Eleven  point,  leaded  two  points. 

Compare  examples  71,  72  and  73.  If  you  had 
your  choice  of  these  three  methods  of  setting  the 
same  piece  of  copy,  which  would  it  be?  My 
choice  would  be  the  eleven  point  type,  leaded 
two  points,  shown  in  71.  For  this  reason.  The 
ten  point  type  (72)  is  whited  out  too  much.  It  is 
better  to  use  some  of  this  space  to  get  a  larger 
face  of  type.  The  twelve  point  type  (73)  has  not 
enough  space  between  the  lines  and  is  therefore 
not  so  easy  to  read  as  the  eleven  point  (71). 

[  130  ] 


Advertising  typography  is  not  a  separate 
and  peculiar  art,  but  the  natural  and  sim- 
ple principles  of  typography  applied  to  ad- 
vertising purposes.  Remember  that  we  put 
words  into  type  to  get  them  read.  Whatever 
helps  to  make  reading  easy  is  both  good 
typography  and  good  advertising.  What- 
ever slows  up  reading  and  hinders  the  de- 
livery of  our  message  is  both  poor  typog- 
raphy and  poor  advertising. 


72     Ten  point,  leaded  four  points. 


Advertising  typography  is  not  a  sepa- 
rate and  peculiar  art,  but  the  natural 
and  simple  principles  of  typography 
applied  to  advertising  purposes.  Re- 
member that  we  put  words  into  type 
to  get  them  read.  W^hatever  helps  to 
make  reading  easy  is  both  good  typog- 
raphy and  good  advertising.  WTiat- 
ever  slows  up  reading  and  hinders  the 
delivery  of  our  message  is  both  poor 
typography  and  poor  advertising. 


73     Twelve  point,  solid. 

[131] 


i\ 


i 


M.  i 


A  check-up 
for  effective  type-use 


1 1' 


Ml 


A  check-up 
for  effective  type-use 

The  use  of  the  check-up  plan  on  the  following 
pages  will  enable  you  to  decide  whether  any 
piece  of  advertising  typography  under  considera- 
tion (either  in  layout  or  finished  proof  form)  has 
the  qualities  that  make  it  able  to  deliver  its  adver- 
tising message  effectively. 

The  principles  of  advertising  typography  are 
the  same  whether  applied  to  advertisements  in 
newspapers,  magazines,  trade  papers,  or  to  book- 
lets, catalogs,  house  organs,  broadsides,  or  to  a 
blotter.  For  this  reason  the  plan  may  be  used 
in  checking  up  effective  type-use  in  any  piece  of 
advertising  print  whatever. 

To  my  classes  at  Columbia  University  I  have 
suggested  the  following  as  an  excellent  method  of 
studying  advertising  typography : 

Clip  specimen  advertisements  from  all  sorts 
of  publications.  Collect  specimens  of  booklets, 
catalogs  and  other  examples  of  advertising  print. 

[134} 


■ 


Then  take  one  specimen  after  another  and  care- 
fully analyze  its  typographical  qualities  by  the 
use  of  this  check-up  plan .  When  you  find  examples 
in  which  the  type  does  not  deliver  the  message 
effectively  (for  reasons  which  the  plan  has  shown 
you)  make  a  layout  of  your  own  which  will  em- 
body the  better  way  of  handling  the  same  piece 
of  copy. 

I  know  of  no  surer  method  of  getting  a  quick 
grasp  on  the  principles  of  effective  type-use. 


[135] 


* 


,.  til 


ft. 


4i: 


:f 


A  check-up 
for  effective  type-use 


I  Good  Looks 

Advertising  typography  must  invite  the  eye 
by  its  good  looks. 

a  The  printed  page  should  be  made  attractive  by 
careful  choice  of  type  and  by  its  pleasing  ar- 
rangement, but  we  should  beware  of  fussing 
it  up. 

b  Type  dress  should  conform  to  the  character 
of  the  message. 

c  Decoration  wisely  used  where  it  belongs  adds 
grace  to  the  printed  page  and  thus  helps  to 
deliver  the  message.  Decoration  that  does  not 
help  to  catch  the  eye  or  deliver  the  message 
is  not  only  superfluous,  but  is  harmful.  It  dis- 
tracts the  eye  and  uses  up  valuable  space. 

d  Type  needs  a  relief  of  white  to  attract  the  eye 
and  make  it  easy  to  read. 


[136] 


n  Liveliness 

Advertising  typography  must  stimulate  in- 
terest by  its  liveliness. 

a  The  eye  is  attracted  by  things  that  look  alive. 
It  turns  away  from  monotony.  The  printed 
page  must  look  as  if  it  had  an  interesting 
story  to  tell.  Avoid  the  physical  appearance  of 
dullness. 

b  Break  up  the  text  into  short  paragraphs  to 
make  the  page  sparkle. 

c  Use  lively  display  heads  and  subheads.  Dis- 
play heads  are  intended  to  catch  the  eye  of 
the  reader  and  convince  him  that  our  ad- 
vertisement has  a  live  message  for  him.  In 
the  use  of  display  type  bear  in  mind  the  fol- 
lowing five  things: 

1  It  must  stand  out. 

2  It  must  be  easy  to  read. 

3  It  must  be  good  to  look  at. 

4  It  must  be  arranged  so  that  its  sense  is 
clear  at  first  glance. 

5  We  must  not  overdo.  All  display  is  no  dis- 
play. Avoid  also  the  over-use  of  all-caps, 
italic  and  boldface  in  the  body  of  text. 


i 


1 


[137] 


iil:'   !. 


|!         if 


II 


in  Orderly  Arrangement 

Advertising  typography  must  sustain  inter- 
est by  orderly  arrangement. 

a  There  must  be  clearness  and  deftness  in  the 
arrangement  of  our  material  on  the  printed 
page  to  aid  the  quick  and  easy  understanding 
of  our  message.  Avoid  involved  arrangements 
that  cause  confusion .  Make  it  easy  for  the 
reader  to  follow  you  step  by  step. 

b  Cataloging  or  listing  is  well  arranged  in  pro- 
portion to  the  quickness  and  ease  with  which 
it  gives  up  its  store  of  information .  By  clear  and 
orderly  arrangement  we  must  enable  the  reader 
to  get  at  a  glance  the  information  he  wants. 

IV  Easy  to  read 

Advertising  typography  must  grip  attention 
by  being  supremely  easy  to  read. 

a  The  face  of  type 

1  It  must  be  of  a  design  with  which  we  are 
familiar  through  long  practice  in  reading  it. 
This  bars  "fancy"  types  of  eccentric  design. 

2  Every  stroke  of  every  letter  must  be  clear 
and  instantly  recognizable. 

3  It  must  be  good  to  look  at. 

[  138  ] 


4  Avoid  setting  pages  or  even  paragraphs  in 
all-caps,  italic  or  boldface. 

5  Avoid  freak  lettering  or  any  kind  of  letter- 
ing that  is  not  at  least  as  easy  to  read  as  a 
good  face  of  type. 

6  Avoid  dark  backgrounds  for  type. 

b  The  size  of  tjrpe 

1  Small  type  is  not  inviting  to  the  eye  and  pro- 
duces a  strain  that  discourages  reading. 

2  Type  may  also  be  too  large  for  the  space  and 
produce  as  much  strain  as  type  too  small. 

c  The  length  of  line 

Type  size  governs  the  length  of  line.  To  insure 
easy  and  comfortable  reading,  it  is  a  universal 
rule  that  the  smaller  the  type  the  shorter  the 
line  has  to  be. 

d  Space  between  lines  (leading) 

Type  is  made  easy  to  read  by  putting  enough 
space  between  lines  to  give  the  eye  a  clear  path . 


[139] 


», 

^^^^H    m 

f 

^ 

1. 

i 

-■ 

[Advertisement] 


Sherbow's  Type  Charts 
for  Advertising 

r 

WJiat  they  are^what  they  do 


T;r"frT7?r*'.^Ji;iJfc!|!«)J!A^W»IPgW«IBllW!l»iH'*- 


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\i'k 
lit 


Sherbow's  Type  Charts  for  Advertising 

''^Everything  visualized" 

In  four  volumes,  visualizing  more  than 
1200  type  combinations  for  use  in  news- 
paper, magazine  and  trade  paper  advertis- 
ing as  well  as  all  forms  of  direct  advertising, 
such  as  booklets ,  catalogs ,  house  magazines , 
posters,  dealer  helps,  car  cards,  mailing 
folders,  window  cards,  etc.,  etc. 


y 


I 


, 


Sherbow's  Type  Charts 
for  Advertising 


re 


Everything  visualized'^ 


As  everyone  knows  who  has  struggled  with  type, 
the  main  difficulty  is  to  be  sure  in  advance  *'how 
it  is  going  to  look/'  Differences  in  the  sizes  and 
styles  are  so  subtle  that  few  people  can  foresee 
or  secure  type  effects  accurately.  Hence  result 
errors,  slowness  and  costly  re-sets. 

Sherbow's  Type  Charts  for  Advertising  meet 
these  difficulties  by  showing  more  than  1200 
type  combinations  set  up  and  ready  to  look  at. 

Suppose  you  are  struggling  with  a  layout  and 
ask  yourself,  ''I  wonder  how  12 -point  Scotch 
Roman  would  look  here,  leaded  two  points,  with 
a  Bodoni  Bold  heading  in  36  point?"  Possibly 
you  close  your  eyes  in  the  endeavor  to  imagine 
how  it  would  look.  Of  course  you  fail;  imagina- 
tion is  a  vivid  thing,  but  sizes  waver  before  it. 
There  is  really  only  one  absolute  way  to  know 


Isi 


i 


i,!  >, 


m 
m 


It 

111! 


; 


11  : 


how  the  combination  would  look — that  is,  to 
have  it  actually  set  and  a  clean  proof  put  before 
you. 

That  is  what  these  Charts  do,  exactly. 

That  very  combination  is  there,  on  a  certain 
page;  the  Index  shows  where  instantly.  The 
Charts  are  just  that  literal.  There  is  no  talk 
in  them. 

They  have  got  1200  actual  clean  proofs  of 
types,  leadings,  spacings,  borders,  subheads, 
display  of  the  sort  continually  needed  in  adver- 
tisements ,  booklets ,  catalogs ,  house  organs ,  broad- 
sides, etc.,  etc. — not  standing  alone,  but  in  the 
various  combinations  of  actual  everyday  use. 


^^Everything  visualized 


?? 


For  every  type  problem  arising  in  the  day's  work, 
the  Charts  spread  out  a  number  of  solutions 
from  which  to  pick  and  choose.  Everything  is 
visualized.  Guesswork  is  done  away  with. 

All  any  man  requires,  to  be  an  excellent  type 
man  with  the  Charts,  are  eyes,  ordinary  intelli- 
gence and  some  slight  knowledge  of  layout  work. 


^ 


He  needs  no  imagination  whatever.   They  are 
the  imagination. 

They  instantly  visualize  any  proposed  typog- 
raphy in  advance,  saving  time,  money,  work 
and  worry. 

They  save  time 

By  eliminating  labored  calculation  of  space  to  be 
occupied  by  a  given  number  of  words,  by  doing 
away  with  hesitation  in  choosing  combinations 
and  appropriate  faces,  and  by  jogging  the  memory 
as  to  various  styles  and  expedients,  they  speed 
up  layout  work  wonderfully.  In  many  cases  jobs 
that  would  take  hours  to  lay  out  are  finished  in 
a  quarter  or  half  an  hour. 


They  save  money 


Because  the  Charts  show  you  in  advance  how 
any  printing  job  is  going  to  look,  they  cut  down 
to  a  minimum  the  matter  of  ''type  alterations"— 
that  is,  changes  made  by  the  advertiser  after 
he  receives  his  proof— and  very  largely  reduce 
the  quantity  of  costly  experimental  type-setting. 


I:'       i 


They  save  drudgery 

To  calculate  space  occupied  by  copy  in  various 
sizes  of  type,  to  experiment  with  various  selec- 
tions of  display  for  headings,  is  sheer  drudgery. 
Very  close  attention  is  needed  to  prevent  errors. 
The  Charts  save  drudgery  to  such  an  extent 
that  layout  work  becomes  easy  and  not  a  task 
to  be  dreaded. 


y 


Good  typography 


None  but  attractive  and  correct  type  combina- 
tions are  shown  in  the  volumes. 

Advertising  that  is  made  up  of  selections  from 
Sherbow's  Type  Charts  is  bound  to  be  in  good 
taste  for  this  reason. 

Faces  that  do  not  harmonize  with  each  other 
are  not  put  together,  and  the  result  is  necessarily 
a  pleasing  piece  of  work. 

Besides,  the  Charts  show  such  a  richness  of 
effects  that  any  man's  knowledge  of  type  resources 
is  sure  to  be  broadened. 


Users  delighted  with  them 


p 


i 


Manufacturers 

We  are  using  your  Type  Charts 
almost  constantly  in  preparing 
layouts  for  Munsingwear  news- 
paper advertising,  also  in  the 
preparation  of  booklets,  circulars 
and  other  forms  of  publicity. 
We  have  found  the  Charts  so 
useful  that  we  would  not  like 
to  be  obliged  to  get  along  with- 
out them.  They  not  only  save 
much  time  but  their  use  results 
in  better  typography. 

MUNSINGWEAR  CORPORATION 

Minneapolis 

They  seem  to  answer  every 
question  of  typography  which 
arises.         TIDE  WATER  OIL  CO 

New  York 


Agencies 


I  have  yet  to  find  a  typograph- 
ical problem  which  could  not  be 
solved  by  referring  to  Sherbow's 
Type  Charts — and  not  only 
solved,  but  solved  with  distinc- 
tion.   EARNEST  ELMO  CALKINS 

The  Charts  do  away  with  75% 

of  the  mere  mechanics  of  type 

layout  and  save  costly  revises. 

THE  BLACKMAN  CO  New  York 

Invaluable  not  only  as  time  sav- 
ers but  as  a  guide  to  good  type 
usage.  N.  w.  AYER  &  SON 

Philadelphia 

They  take  the  "guess  work"  out 
of  a  pencil  layout. 

CHURCHILL-HALL,  INC  New  York 


Printers 

We  have  found  that  your  Charts 
are  a  great  help  in  selling  our 
product.  They  are  of  great  as- 
sistance in  showing  the  customer 
just  what  we  have  in  mind  for 
his  work.       THE  FAITHORN  CO 

Chicago 

We  feel  that  we  have  only  begun 
to  develop  the  possibilities  for 
efficiency  which  these  Charts 
contain.  We  use  them  continu- 
ously in  conferences  with  clients. 
POOLE  BROS  Chicago 

Your  Charts  have  been  a  won- 
derful help  to  us  in  selling  our 
customers  from  the  many  com- 
binations shown;  they  eliminate 
all  experimental  composition. 

REES  PRINTING  CO  Omaha 

Institutions 

We  have  had  your  Type  Charts 
constantly  in  use  for  more  than 
a  year  and  we  find  them  of  the 
greatest  utility.  There  is  particu- 
lar satisfaction  in  the  possibility 
of  visualizing  instantly  a  printing 
conception.  The  best  tribute  that 
I  can  pay  to  them  is  perhaps  the 
fact  that  they  are  in  daily  use. 

CONTINENTAL  &  COMMERCIAL 
NATIONAL  BANK  OF  CHICAGO 

If  we  wish  to  see  how  any  adver- 
tisement is  going  to  look  we  open 
your  Charts  to  page  so  and  so .  We 
save  time  and  money.  We  have 
a  guide — we  have  a  standard. 
MARSHALL  FIELD  &  CO  Chicago 


A 


1 


^^■'1 


You  can  have 
the  Charts  on  ten  day s^  free  trial 

They  come  to  you  prepaid,  and  you  incur  no 
obligation  whatever  by  sending  for  them,  except 
the  obligation  to  send  them  back  if  they  do  not 
please  you,  in  which  case  the  transaction  is  closed 
and  finished. 

Actual  use  of  these  Charts  for  ten  days  will 
show  you  conclusively  their  application  to  your 
needs.  Test  them  yourself  in  your  own  way 
on  your  own  work.  If  you  find  you  don't  want 
them,  send  them  back. 

That  is  fair  enough,  is  it  not? 

» 

Or  if  you  would  like  to  have  more  information 
about  the  Charts  before  taking  them  on  free  trial, 
write  for  PROSPECTUS  No.  2.   It  is  free. 

Address  the  Publisher 

Benjamin  Sherbow 

50  Union  Square  New  York 


, 


Il^l 


krJ 


I, 


If! 


■^■> 


COLUMBIA  UNIVERSITY  LIBRARIES 

This   book   is   due   on   the   date   indicated   below,    or   at   the 
expiration   of   a   definite   period    after   the   date  of  borrowing,   as 
provided   by   the   library   rules   or   by   special    arrangement   with 
the  Librarian  in  charge. 

DATE   BORROWED 

DATE   DUE 

DATE   BORROWED 

DATE    DUE 

i 

1 

• 

1 

[ 

- 

■■ 

j 

- 

C28(955)100MEE 

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COLUMBIA  UNIVERSITY  LIBRARIES 


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